Cleo Moore
Cleo Moore – Life, Career, and Legacy
Explore the life and legacy of 1950s Hollywood actress Cleo Moore — her rise as a blonde bombshell, her B-movie roles with Hugo Haas, her post-acting business life, and her place in cinema history.
Introduction
Cleo Moore (October 31, 1924 – October 25, 1973) was an American film actress and pin-up model whose seductive screen presence typified the 1950s “blonde bombshell” archetype. Though she never reached A-list stardom, she left a mark in B-movies, film noir, and cult cinema. Her career was relatively brief — from 1948 until 1957 — after which she transitioned into business. Today, she is remembered among classic film enthusiasts for her striking image and films with director Hugo Haas.
Early Life and Background
Cleo Moore was born Cleo Una Moore (some sources cite Cleouna Moore) on October 31, 1924 in Galvez, Louisiana. She was raised in nearby Gonzales, Louisiana, and attended local public schools. After high school, she took a secretarial course at Pope’s Commercial College in Baton Rouge.
Her father ran a grocery store. In her early adult life, she briefly married Palmer Long (a son of Louisiana political figure Huey Long), but the union lasted only six weeks. Later, in 1961, she married real estate developer Herbert Heftler.
In 1947–1948, she was crowned Miss Van Nuys, a title that helped her gain entry to modeling and screen tests.
Film Career
Early Work
Moore’s first film appearance was in Embraceable You (1948) (credited uncredited). She also appeared in the serial Congo Bill (1948).
In 1950 she worked briefly with major studios including Warner Bros. and RKO Radio Pictures, featuring in films such as Hunt the Man Down and Gambling House.
Rise at Columbia & Blonde Starlets
In 1952, Moore signed with Columbia Pictures, where the studio attempted to position her as a rival to Marilyn Monroe. To heighten her appeal, she bleached her hair platinum blonde. Columbia promoted her with epithets such as “The Next Big Thing” and “The Blonde Rita Hayworth.”
One of her earlier notable performances was in Nicholas Ray’s On Dangerous Ground (1952), where she played a supporting role with a noir edge.
Collaboration with Hugo Haas & Leading Roles
Moore collaborated extensively with Hugo Haas, starring in seven of his films. These include One Girl’s Confession (1953), Thy Neighbor’s Wife (1953), The Other Woman (1954), Bait (1954), Women’s Prison (1955), and others. In The Other Woman, she played a B-movie actress who exacts revenge on a director who rejects her.
She also appeared in Hold Back Tomorrow (1955), a low-budget thriller, and Over-Exposed (1956), in which she played Lila Crane, a character trying to transform into a screen star. Her final film was Hit and Run (1957).
Style & Position in Hollywood
During the 1950s, she was among a cadre of blondes Hollywood used to emulate or compete with Monroe—others include Jayne Mansfield, Mamie Van Doren, Sheree North, Diana Dors, etc. Though she rarely achieved top-tier stardom, her films have endured among aficionados of classic noir and cult cinema.
Later Life & Business
After retiring from acting post-1957, Moore entered the real estate business and found success in that arena. She withdrew from the public spotlight, and her later years were relatively private.
Death & Legacy
Cleo Moore died of a heart attack on October 25, 1973, in Inglewood, California, just days before turning 49. She is buried at Inglewood Park Cemetery.
Over time, Moore has become a figure of cult interest among fans of 1950s cinema and film noir. Her image as a “bad girl” blonde and her collaborations with Hugo Haas help maintain her presence in film history discussions.
Notable Filmography
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Embraceable You (1948)
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Congo Bill (1948)
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Hunt the Man Down (1950)
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Gambling House (1950)
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On Dangerous Ground (1952)
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One Girl’s Confession (1953)
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Thy Neighbor’s Wife (1953)
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Bait (1954)
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The Other Woman (1954)
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Women’s Prison (1955)
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Hold Back Tomorrow (1955)
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Over-Exposed (1956)
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Hit and Run (1957)
Personality & Image
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Moore was cast frequently in femme fatale, seductive, or morally ambiguous roles, playing on her physical appeal and blonde bombshell image.
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She navigated the constraints of 1950s Hollywood, which often limited actresses of her type to typecast roles.
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Her collaborations with Haas indicate she was willing to work on creative, independent projects rather than stay solely safe in studio fare.
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In later years, she stepped away from acting and focused on business endeavors, signaling adaptability beyond performance.