DIANA DORS
AND FILM NOIR
Diana Dors, while primarily known for her work as a sex symbol and in other genres, made a few notable contributions to the film noir genre during her career. Although her filmography in film noir is not as extensive as some other actresses, she demonstrated her versatility by taking on roles in films that incorporated elements of the noir style. Here are a few examples of Diana Dors' contributions to film noir:
"The Long Haul" (1957): In this British film noir, Dors played the role of Sally, a seductive and manipulative woman who becomes involved with a truck driver caught up in a criminal plot. Her performance as the femme fatale added an intriguing dynamic to the story, showcasing her ability to embody complex and alluring characters.
"Blind Date" (1959): In this noir-inspired crime thriller, Dors portrayed the character of Janie, a nightclub hostess who gets entangled in a murder investigation. The film explores themes of deception, crime, and the seedy underbelly of society, with Dors bringing her trademark sensuality and allure to the role.
"The Unholy Wife" (1957): While not a pure film noir, this crime drama features noir elements and Dors' character, Phyllis, exhibits shades of the femme fatale archetype. The story revolves around a love triangle, deceit, and murder, and Dors delivers a performance that captures the complexities and allure of her character.
While Diana Dors' film noir roles may not be as numerous as those of some other actresses associated with the genre, her contributions showcase her ability to embody seductive and complex characters within the noir framework. Her performances added depth and intrigue to the films in which she appeared, demonstrating her versatility as an actress beyond her sex symbol image.
VIDEO TRIBUTE:
Diana Dors

Diana Dors, born Diana Mary Fluck on October 23, 1931, was an English actress and sex symbol who gained popularity during the 1950s and 1960s. She was known for her glamorous looks, buxom figure, and blonde bombshell image.
Early Life and Career: Diana Dors was born in Swindon, Wiltshire, England. She began her acting career at a young age and made her film debut in 1947 with a small role in "The Shop at Sly Corner." Her breakthrough came with her appearance in the film "Diamond City" (1949), where she played a supporting role.
Rise to Fame: In the 1950s, Dors gained recognition as a British sex symbol and became known for her provocative and glamorous image. She starred in several popular British films, including "Lady Godiva Rides Again" (1951), "Yield to the Night" (1956), and "The Long Haul" (1957). Her sultry looks and seductive on-screen persona garnered her a large fan following and made her one of the most popular pin-up girls of the era.
International Success: Dors ventured to Hollywood in the late 1950s to pursue an international film career. She appeared in films such as "I Married a Woman" (1958) and "The Unholy Wife" (1957), but her success in the United States was limited. Despite this, she continued to work on both sides of the Atlantic and starred in numerous films throughout the 1960s.
Later Career and Personal Life: As the 1960s progressed, Dors faced challenges in maintaining her earlier success. She transitioned into television work, making guest appearances on various shows and hosting her own talk show, "Diana." In the 1970s and 1980s, she continued to act in films and television shows while also performing on stage.
Diana Dors had a turbulent personal life. She married and divorced three times. Her first marriage was to Dennis Hamilton, a stagehand she met at the age of 18. They had two sons together but divorced in 1959. Her second and third marriages were to actor Richard Dawson and businessman Alan Lake, respectively. She had two more children with Alan Lake.
Later Years and Legacy: Diana Dors continued to work in the entertainment industry until her death. Unfortunately, her health began to decline, and she battled various illnesses, including cancer. Diana Dors passed away on May 4, 1984, at the age of 52.
Diana Dors left behind a legacy as one of Britain's most iconic and enduring sex symbols. She was known for her vivacious personality, captivating beauty, and undeniable talent. Her contributions to the film and entertainment industry continue to be celebrated, and she remains an influential figure in British cinema history.
Quotes:
"I used to go to Grauman's Chinese or Pantages and sit there waiting to see my faceless body on the screen. Texas began to look awfully near and awfully good, and "Clara Lou" had a sweet sound to my ears."
"I can whistle through my fingers, bulldog a steer, light a fire with two sticks, shoot a pistol with fair accuracy, set type, and teach school . . ."
"They nicknamed me "The Oomph Girl", and I loathe that nickname! Just being known by a nickname indicates that you're not thought of as a true actress . . . It's just crap! If you call an actress by her looks or a reaction, then that's all she will ever be thought of as."
[on Errol Flynn] "He was one of the wild characters of the world, but he had a strange, quiet side. He camouflaged himself completely. In all the years I knew him, I never really knew what lay underneath and I doubt if many people did."
- Ann Sheridan
Trivia:
A tribute to Diana Dors, "Good Day", was written by Ray Davies after her death and is included on The Kinks' album "Word of Mouth" (1984).
She dismissed most of the films she appeared in as rubbish but cherished A Kid for Two Farthings (1955), Blonde Sinner (1956) and Deep End (1970).
She had millions of dollars stashed in secret that was never uncovered after she died.
Hosted sex parties at her London home during the Swinging '60s.
In 1947 she was put under contract by J. Arthur Rank.
She dismissed most of the films she appeared in as rubbish but cherished A Kid for Two Farthings (1955), Blonde Sinner (1956) and Deep End (1970).
She had millions of dollars stashed in secret that was never uncovered after she died.
Hosted sex parties at her London home during the Swinging '60s.
In 1947 she was put under contract by J. Arthur Rank.