Anne Bancroft: A Legendary Actress with a Heart Full of Humor and Heartfelt Stories
When Anne Bancroft came to read her lines for an episode of The Simpsons, she was asked if she had brought along her husband of 30 years, Mel Brooks. With a playful glance around the room, she whispered, “I can’t get rid of him!” This witty moment was just a glimpse into the joyful and deeply affectionate relationship she shared with Mel, one that remained strong throughout their marriage.
Their marriage was famously filled with love and humor. However, Anne often recalled a moment when Mel first introduced her to his Jewish mother, telling her that he was marrying a girl named Anna Maria Louisa Italiano. To which his mother responded, “Fine! Bring her over. I’ll be in the kitchen – with my head in the oven.” Despite the cultural differences, Anne and Mel’s marriage stood as a testament to love, respect, and understanding, marked by their shared sense of humor.
A Sense of Humor to Light Up the Screen
Known for playing dramatic roles in some of Hollywood’s most revered films, Anne was the daughter of immigrants Michael Italiano and Mildred DiNapoli. Growing up in a household filled with love and laughter, she developed a wonderful sense of humor that became a constant in her life. In fact, it’s quite rare to find a photo of Anne off-screen where she isn’t smiling or laughing. This infectious joy carried over into her work, where she showcased her range from serious roles to comedic moments.
Interestingly, Anne didn’t initially choose to change her name for her career; it was her agent, Darryl Zanuck, who suggested that “Anna Maria Louisa Italiano” was too ethnic for Hollywood’s standards. So, she opted for “Bancroft” because it sounded “dignified.” It’s a similar reason why actress Barbara Stanwyck also changed her name, and it’s not hard to see why it worked—her name certainly exuded grace and sophistication.
Shyness Beneath the Spotlight
Despite her on-screen confidence, Anne was a deeply shy woman in real life. Watching a 1960 episode of What’s My Line, where Anne was the mystery guest, reveals a side of her that was quite modest and reserved. She came across as the most humble and sweet young woman, speaking carefully and modestly in front of the panel. Even years later, in 1987, when she appeared on the Wogan talk show in Britain, Anne was so nervous about appearing live on television that she turned pale when told just minutes before the broadcast began. She wasn’t nervous about the live format itself, having performed countless times on stage, but about appearing as herself, rather than in a scripted role. To calm her nerves, host Terry Wogan suggested she count to three before walking out, which she did—counting aloud as she made her way to her seat. Wogan later said that Anne was his most difficult guest, but it was clear that this “difficult” guest was simply someone who took her own self-presentation seriously.
Leaving Hollywood for New York: A Bold Move
Anne’s commitment to her craft was so deep that at just 26 years old, she walked away from Hollywood. Unhappy with the types of scripts she was being offered, she left California and returned to New York, enrolling in acting school and committing herself to theater for the next five years. During this time, Anne earned two Tony Awards, one for The Miracle Worker and the other for Seesaw. She once said, “Life’s too short,” reflecting her decision to take acting seriously but not herself. She understood the value of personal growth and never hesitated to step away from the limelight when needed, even if it meant sacrificing fame for self-respect.
Reflecting on her earlier Hollywood career, Anne admitted, “The only reason I’m not still doing Daughter of Gorilla at Large is because my personal life had become a shambles. Every picture I did was worse than the last one, and every man I was in love with was worse than the last one. I was terribly immature.” This candid self-awareness helped her focus on roles that meant something to her, rather than just following the path laid out for her in Hollywood.
A Career of Excellence and Integrity
Anne Bancroft’s career was nothing short of spectacular. She was nominated for five Academy Awards for Best Actress, winning one for her unforgettable role as Annie Sullivan in The Miracle Worker. Her talent wasn’t limited to the big screen—she was also nominated for six Emmy Awards, winning one, and she won multiple BAFTA and Golden Globe awards, establishing her as one of Hollywood’s most respected actresses.
Though Anne was celebrated for her work, she didn’t always follow the mainstream path. She turned down roles she didn’t connect with, such as Faye Dunaway’s part in Mommie Dearest and Suzanne Pleshette’s role in The Birds. There were also personal reasons for turning down parts, such as pregnancy or illness. For example, she passed on roles in The Exorcist and Alice Doesn’t Live Here Anymore because she was pregnant at the time. Additionally, Anne chose to be in Mel Brooks’ To Be or Not to Be over Shirley MacLaine’s role in Terms of Endearment. It was clear that her integrity and passion for meaningful work always guided her decisions.
Later Years and Contributions to Film
In the later stages of her career, Anne began writing screenplays, including Fatso, which she also directed. Mel Brooks credited Anne with being the “guiding force” behind bringing The Producers and Young Frankenstein to both the stage and screen. She once humorously said, “The best way to get most husbands to do something is to suggest that perhaps they’re too old to do it!”—a perfect example of the wit that infused her marriage and creative partnership with Mel.
A Hidden Talent: Singing and Science
Not only could Anne act, but she could also sing—a talent not often called upon in her movie roles. However, her love for science was another side of her many fans didn’t often see. Her son, Max Brooks (the screenwriter of World War Z), shared that his deep interest in infection and disease came from Anne reading Microbe Hunters as a bedtime story to him. She had a secret passion for science, which she kept close to her heart.
A Final Remark: A Playful and Fearless Spirit
Anne Bancroft once joked about her various career names: “When I was in radio, I was Anna St. Raymond; when I was in television, I was Anne Marno; and then in movies, I was Anne Bancroft—but if I ever go into burlesque, I’ve got one already picked out! ‘Ruby Pepper’.” She had an undeniable ability to laugh at herself and find humor in the world around her.
One of Anne’s funniest stories came from a time when she was in Mexico filming on location. “We had this long drive from the bottom of a mountain all the way to Mexico City. I used to get pretty bored on these drives, so I was shouting out the window, ‘HELLO, YOU PEOPLE! HERE I AM, YOU LUCKY PEOPLE, YOU!’ So then five guys in a car followed us all the way to the hotel! That’s the only funny thing that happened to me back then… it wasn’t in Hollywood—it was Mexico. Nothing funny happens in Hollywood.”
Anne Bancroft was more than an actress. She was a force of nature, a brilliant woman with a rich sense of humor, boundless creativity, and a deep love for both the arts and sciences. Her legacy continues to inspire, and her joyful spirit remains a cherished memory for all who knew her or admired her work.