Sandra Louise Anderson (née Smith; May 28, 1944 – November 3, 2018), professionally known as Sondra Locke, was an American actress and director.

An alumna of Middle Tennessee State University, Locke broke into regional show business with assorted posts at the Nashville-based radio station WSM-AM, then segued into television as a promotions assistant for WSM-TV. She performed in the theater company Circle Players Inc. while employed at WSM. In 1968, she made her film debut in The Heart Is a Lonely Hunter, for which she was nominated for an Academy Award for Best Supporting Actress and earned dual Golden Globe nominations for Best Supporting Actress and New Star of the Year.

Locke went on to appear in such box-office successes as Willard (1971), The Outlaw Josey Wales (1976), The Gauntlet (1977), Every Which Way but Loose (1978), Bronco Billy (1980), Any Which Way You Can (1980), and Sudden Impact (1983). She worked regularly with Clint Eastwood, who was her companion from 1975 to 1989 despite their marriages to other people. She directed four films, notably Impulse (1990). She published an autobiography, The Good, the Bad, and the Very Ugly: A Hollywood Journey, in 1997.

Locke's persona belied her age. She claimed to have been born several years later than 1944, often playing roles written for women far younger than herself, and kept her true age a secret throughout her career. For reasons never made clear, her death was not publicly announced and was only confirmed by vital statistics six weeks after she died of cardiac arrest at the age of 74. From 1967 until her death, Locke was the wife of sculptor Gordon Leigh Anderson, in a mixed-orientation union they reputedly never consummated.

Background, early life and education

thumb|upright|A brunette Locke on the 1956 S.M.S. basketball team

Sandra Louise Smith was born on May 28, 1944, the daughter of New York City native Raymond Smith, then a soldier stationed at Camp Forrest, and Pauline Bayne, a pencil factory worker from Huntsville, Alabama, who was of mostly Scottish descent, with matrilineages in South Carolina extending back to the late 18th century.

Locke held a variety of jobs, including as a bookkeeper for Tyson Foods and receptionist in a real-estate office. In 1964, she joined the staff at radio station WSM-AM 650 in Nashville, and was promoted to its television affiliate WSM-Channel 4 the following year. Locke's biggest coup while employed there was hosting actor Robert Loggia when he visited Nashville to promote his TV pilot T.H.E. Cat, during which he "flirted outrageously" with Locke. In 1966, the 22-year-old appeared in a UPI wire photo that showed her cavorting in new fallen snow. Within one year of this exposure, she decided to pursue a career in film, and changed the spelling of her first name to avoid being called Sandy. Once Locke gained mainstream recognition, however, For Better, For Worse would be redacted from all of her publicity material in order to foster the illusion that she was a complete novice. In the only contemporaneous article to address Locke's discrepancies, The Tennesseans Clara Hieronymus lamented the actress' "fondness for exaggeration and distortion of the facts. She doesn't need that."

Rise to prominence

In July 1967, Locke competed with 590 other Southern actresses and dozens of New York hopefuls for the part of Mick Kelly in a big-screen adaptation of Carson McCullers' novel The Heart Is a Lonely Hunter opposite Alan Arkin. For the first audition in Birmingham, Alabama, then-fiancé Gordon Anderson gave his bride a so-called Hollywood makeover: he bound her bosom, bleached her eyebrows, and carefully fixed her hair, makeup, and outfit so as to create a more gamine appearance. Locke lied about her age, shaving off six years to make herself seem younger—a pretense she would keep up not only for the rest of her career, but also the entirety of her public life. After callbacks in New Orleans and Manhattan, she was cast in the role by recommendation from entertainment coordinator Marion Dougherty. The film's shooting wrapped in the fall of 1967. Locke, who had quit her post at WSM, opted to wait until its release before choosing a follow-up project. In the nine-month interim, she was asked to play the female protagonists in True Grit and Michelangelo Antonioni's Zabriskie Point. Locke's performance garnered her an Academy Award nomination, as well as a pair of Golden Globe nominations for Best Supporting Actress and Most Promising Newcomer – Female. Being the oldest nominee in the latter category, she concealed this distinction through retconning with aid from studio publicists. Although her salary for the film was reported as $15,000 in contemporary articles, Locke later claimed it was less than one-third that amount.

Commercial ups and downs, missed roles, TV work

thumb|The Andersons holding a copy of [[Palmer Cox's book The Brownies at Home, 1971]]

Hoping to shed the plain image she had accentuated in her screen debut, in January 1969 Locke posed for a seminude Lady Godiva-ish pictorial by photographer Frank Bez, which was published in the December issue of Playboy. The Playboy layout established Locke's status as a sex symbol, and the images were recycled in other men's magazines as her fame increased. Nearly three decades later, Locke said she still got those photos in fan mail requesting her autograph. opposite Robert Forster. She made it as part of a $150,000 three-picture deal with 20th Century Fox, and was compensated for the other two, which never materialized. It was announced that she would play the lead in Lovemakers—a film adaptation of Robert Nathan's novel The Color of Evening—but no movie resulted. Locke was offered Barbara Hershey's role in Last Summer (1969), but her management turned it down without telling her. Shortly afterwards, she passed on the lead in My Sweet Charlie (1970), which won an Emmy for its eventual star Patty Duke. She also declined the part of Bruce Dern's pregnant wife in They Shoot Horses, Don't They? (1969). Projects Locke actively pursued but got rejected for included The Sterile Cuckoo (1969) and Tell Me That You Love Me, Junie Moon (1970), with directors Alan J. Pakula and Otto Preminger both choosing Liza Minnelli instead.

thumb|left|With [[David Carradine in Kung Fu, 1974]]

In 1971, Locke co-starred with Bruce Davison and Ernest Borgnine in the psychological thriller Willard, which became a surprise box-office smash. Locke felt overqualified for her role but did it as a favor to Davison, who at the time was her unofficial paramour.

She was then featured in William A. Fraker's underseen mystery A Reflection of Fear (1972), which required her to project the image of a character half her age. Locke also held the title role in first-time director Michael Barry's avant garde drama The Second Coming of Suzanne (1974), which won three gold medals at the Atlanta Film Festival. Both films were shelved for two years before finally opening in arthouse cinemas, attracting little attention at first. Over time, Suzanne has accrued a cult following,

In 1973, Locke was attached to star in Terminal Circle. "It's a woman's role that comes along once in a lifetime," she said. The San Francisco-based film was to be directed by Mal Karman and shot by cinematographer Robert Primes, who did camerawork for Gimme Shelter, but it was scrapped for lack of funds.

Locke guest starred on top-rated television drama series throughout the first half of the 1970s, including The F.B.I., Cannon (as two different characters), Barnaby Jones, and Kung Fu. She was advised by her agents to stay away from TV, but she thought it foolish to sit around not working between films. In the 1972 Night Gallery episode "A Feast of Blood", she played the victim of a curse, planted by Norman Lloyd, receiving a brooch that devoured her. Lloyd acted with Locke again in Gondola (1973), a racially themed, three-character PBS teleplay co-starring her real-life significant other at the time, Bo Hopkins, and Lloyd commended the actress for "a beautiful performance – perhaps her best ever." Ron Harper, who worked with Locke on the short-lived 1974 show Planet of the Apes, was even more effusive: "After acting with her in a couple of scenes, there was something so feminine about her that I could picture myself easily falling for her ... She's one of those women who exudes femininity, and you just become so attracted to that."

Films with Clint Eastwood

thumb|Locke and Eastwood in 1975 during the filming of The Outlaw Josey Wales

In mid-1975, Locke was cast in The Outlaw Josey Wales as the love interest of Clint Eastwood's eponymous character. Locke said she chose the role for its exposure, following a run of unremarkable credits. She took a pay cut just to be in the film; her salary for Josey Wales was $18,000—less than half of what she had earned for her previous job. The film emerged as one of the top 15 grossing films of 1976 and revived Locke's career. She followed it up with a lead role alongside Eastwood in the popular action road film The Gauntlet (1977), the duo replacing Steve McQueen and Barbra Streisand, who bowed out from the production reportedly due to a clash of egos. Its pre-publicity touted Locke as "the first actress ever to be in a Clint Eastwood movie and get equal billing on screen with the macho star." Eastwood predicted that she would win an Oscar for her performance. Locke was not even nominated and received mixed critical response at best: on the upside, Vincent Canby of The New York Times said, "Locke is not only pretty, but also occasionally genuinely funny" and Los Angeles Times critic Kevin Thomas stated that Locke "has not received such a rich opportunity since her Academy Award-nominated debut"; in contrast, Gene Siskel of the Chicago Tribune said, "she's wasted here" and TV Guide felt that "Locke is simply repulsive."

Over the course of their decade-and-a-half-long personal relationship, Locke did not work in any capacity on any theatrical motion picture other than with Eastwood except for 1977's experimental horror Western The Shadow of Chikara. Co-starring Joe Don Baker, The Shadow of Chikara is noted for being the first film to be shot on the Buffalo National River. Eastwood accompanied Locke on the shoot and spent his days touring the countryside and fishing while she filmed. The home-invasion potboiler Death Game (1977), though released after they became an item, was actually shot in 1974. "Clint wanted me to work only with him," Locke said.

thumb|left|Eastwood and Locke in The Gauntlet (1977)

In 1978, Locke and Eastwood appeared with an orangutan named Manis in that year's fourth-highest grossing film, Every Which Way but Loose. She portrayed country singer Lynn Halsey-Taylor in the adventure-comedy. Its 1980 sequel Any Which Way You Can—for which Locke earned a six-figure salary plus a share of the profits—was nearly as successful. Locke recorded several songs for the soundtracks of these films, and was whispered to be shopping for a record deal at the time. On the coattails of the franchise's success, she performed live in concert (one-off gigs) with The Everly Brothers, Eddie Rabbitt, and Tom Jones.

During this period, Eastwood did a few movies that had no prominent female character for Locke to play. In the meantime, she accepted some television offers, co-starring with an all-female ensemble cast in Friendships, Secrets and Lies (1979) and portraying big band-era vocalist Rosemary Clooney in Rosie: The Rosemary Clooney Story (1982). While the biopic followed Clooney from age 17 to 40, Locke was 38 when she played the role, and—though hardly counting as a proper exception due to its nonlinear structure—this marked the only time she played a mother onscreen. As part of the promotional push behind Rosie, Varietys Rick Du Brow wrote a flattering article in which he called Locke "one of the most-watched and popular motion picture actresses in the world."

thumb|In Any Which Way You Can (1980)

Locke starred as a bitter heiress who joins a traveling Wild West show in Bronco Billy (1980), her only film with Eastwood not to reach blockbuster status, though it still ranked among the annual box-office top 25. and the film's director of photography, David Worth, enthused how "being able to capture the true love between Clint and Sondra was very special." Locke cited Bronco Billy and The Outlaw Josey Wales as her favorites of the movies they made. The couple's final collaboration as performers was Sudden Impact (1983), the highest-grossing film in the Dirty Harry franchise, in which Locke played an artist with her own code of vigilante justice. Her fee was a reported $350,000. The film premiered five months short of her 40th birthday, declared by People as "the pre-Fonda age cutoff for actresses." Despite Locke's past nomination for an Academy Award and repeat appearances in box-office hits, she had failed to achieve first-magnitude stardom or win the affection of the moviegoing public. By 1979, the year Eastwood and she made their fourth film together, accusations of nepotism arose. Cultural critic Joe Queenan, writing for Mail & Guardian, would express particular contempt for her in a 2010 editorial about Eastwood's career, believing that "his worst movies, without question, are the ones he made with Sondra Locke." In late 1983, Locke announced plans to develop and star in a movie about Marie Antoinette, but the project fell apart. Eastwood then directed Locke in a 1985 Amazing Stories episode titled "Vanessa in the Garden", with Harvey Keitel.

Directing

Locke made her feature directorial debut with Ratboy (1986), a parable about a youth who is part rat and part human, produced by Eastwood's company Malpaso. When asked why she had been absent from her longtime beau's recent star vehicles, Locke replied simply, "I wasn't right for the roles." Ratboy had very limited distribution in the United States, where it was a critical and financial flop, but the film was well received in Europe, with French newspaper Le Parisien calling it the highlight of the Deauville Film Festival. Locke, who also appeared in the lead role alongside Sharon Baird as the title character, was nominated for a Golden Raspberry Award for Worst Actress. Amidst this setback, Locke conceded that plum acting offers had dried up, though she never backed down from the ruse she had begun in 1967, masquerading ceaselessly about being younger. In a subsequent interview with Siskel, Locke said she was not eager to act again. "If you love the craft of filmmaking as much as I do, it's hard to go back to acting after you've tasted the high of directing."

After a long interruption in her career due to legal difficulties and health issues, Locke directed the made-for-television film Death in Small Doses (1995), based on a true story, and the independent feature Trading Favors (1997), starring Rosanna Arquette.

Memoir and final projects

thumb|Locke at a screening of Ray Meets Helen in 2018, her last public appearance

In 1997, Locke's autobiography The Good, the Bad, and the Very Ugly: A Hollywood Journey was published by William Morrow and Company. In it, she called Eastwood "a completely evil, manipulating, lying excuse for a man." She was also bumped from The Oprah Winfrey Show, and in her words, "shut out of most venues to promote the book, in particular the networks." The book received a supportive rave review from New York Daily News writer Liz Smith, while Entertainment Weeklys Dana Kennedy dismissed the book as a "peculiar, not terribly consequential, life story."

Locke told a Portuguese website that she had been informed that Entertainment Weekly originally planned to publish a positive review, but for reasons unclear, it was pulled and a negative review appeared instead. Locke was nonetheless grateful to have a platform at all, stating: "It was a miracle that a major publisher took it." Locke would once again be notably deleted from a montage commemorating Eastwood at the 2002 Maui Film Festival.

After 13 years away from acting, Locke re-emerged in 1999 to appear opposite Dennis Hopper in The Prophet's Game and Wings Hauser in Clean and Narrow, the latter shot in Texas. Both films went straight to video. About that time, she planned to direct "a two-guys-on-the-run film" called The Hard Easy, which did not eventuate. Caritas Films, the production company that Locke had formed with husband Gordon Anderson—whom she wed in 1967 and never legally split from—shut down in 2004 after failing to get any projects off the ground.

In 2014, Locke served as an executive producer on the Eli Roth film Knock Knock, starring Keanu Reeves. She came out of retirement once more in 2016, producing and starring in Alan Rudolph's indie Ray Meets Helen with Keith Carradine. The film had only a brief run in three theaters in May 2018, less than six months before Locke died. Despite increasing infirmities, she traveled to Ann Arbor, Michigan, a few days after her 74th birthday to attend the Cinetopia Film Festival, where Ray Meets Helen was received poorly. Writer-director Alex O Eaton wanted Locke to play an eccentric Appalachian grandmother in Mountain Rest (2018), but she did not take the role, which ultimately went to the decade-younger Frances Conroy.

Other activities

thumb|Locke (far left) with neighbors Helen Young, Carol Young, and Louise Davenport,

Philanthropy

In the 1960s during her tenure at WSM, Locke participated in the annual United Cerebral Palsy (UCP) telethons. One year, she toured Birmingham with folk singer Richard Law.

Following her then-partner's April 15, 1986, inauguration as the 30th mayor of Carmel-by-the-Sea, California, Locke became the de facto First Lady of Carmel.

In 1992, she served as honorary chairwoman for the "Starry, Starry Night" silent auction in Costa Mesa, California, to benefit Human Options, a shelter for victims of domestic violence. "Being a woman I have great empathy for these women. I can understand how stranded they must feel, how hard it is to change one's life," Locke said. She also auctioned off a private lunch to raise money for the Los Angeles Ballet.

Wellness

By the end of the 1970s, Locke became a follower of research scientist Durk Pearson's views on longevity. In the book Life Extension: A Practical Scientific Approach (1982), which promotes the theory that free radicals are a primary cause of aging and recommends antioxidant supplements to prevent the damage they supposedly do, Locke was written about as a pseudonymous celebrity (Miss Jones) using the principles.

Public image

Throughout her career, Locke appeared on many magazine covers including Club International, Family Weekly, Hello!, Kinema Junpo, National Enquirer, People, La Settimana Enigmistica, Star, TV Guide, Voici, Weekend and Woman. Australian rock band The Sports named their 1981 album Sondra in her honor. She became a significant subject of widespread media interest while dating Clint Eastwood, and they were dubbed a "golden couple" by Vanity Fair. Known for her wiles and feminine prowess, Locke possessed a certain mystique that left a lasting impression on audiences of the opposite sex. About her appeal, photographer Rick McGinnis said: "She made every male around her default to a courtly version of themselves, keeping their voice down, their manners in check, and their eagerness to see that she was comfortable at the foremost."

Personal life

Marriage

thumb|Mr. and Mrs. Anderson at the [[Beverly Hills Hotel in July 1968]]

On September 25, 1967, during a brief acting career before he married Locke. In 1969 it was announced that they would star in a film adaptation of Venable Herndon's play Until the Monkey Comes, which Anderson had done off-Broadway in 1966, but the project never came to fruition. at the First Presbyterian Church in Nashville, one week after The Heart Is a Lonely Hunter commenced principal photography.

Locke had known Anderson since at least the late 1950s; accounts as to when they met vary by as much as four years. When this became public knowledge a decade after the fact, Eastwood issued a statement:

Locke professed mixed feelings on the matter, stating in one chapter of her autobiography that she was grateful she had not had Eastwood's children, while writing in another, "I couldn't help but think that that baby, with both Clint's and my best qualities, would be extraordinary."

thumb|left|alt=Michael Zelniker, Clint Eastwood, Sondra Locke and Forest Whitaker promoting the film "Bird" at the Cannes film festival|[[Michael Zelniker, Eastwood, Locke, and Forest Whitaker promoting Bird (1988) at the Cannes film festival]]

During their 14 years as de facto husband and wife, Locke and Eastwood had occupied seven homes and acquired four, including a retreat in Sun Valley, Idaho, and the Rising River Ranch near Cassel, California. Locke sought half of Eastwood's earnings and an equal division of property, requesting title to the house in Bel-Air and to the Gothic-style West Hollywood place Eastwood had leased to Gordon Anderson since 1982. She also asked Judge Dana Senit Henry to bar Eastwood from the Bel-Air house "because I know him to have a terrible temper ... and he has frequently been abusive to me." When her contract had yielded no directing assignments three years in, Locke became convinced the deal was a sham. She began to seek corroboration, and came across incriminating printouts from WB's bookkeeping records. In June 1995, she sued him again, for fraud and breach of fiduciary duty. According to Locke's attorney Peggy Garrity, Eastwood committed "the ultimate betrayal" by arranging the "bogus" deal as a way to keep her out of work. Garrity added that Eastwood had held out the allegedly counterfeit deal "like a dangled carrot" to persuade Locke to drop the earlier palimony suit. Before any court decision could be made, Locke settled the case with Eastwood for an undisclosed amount of money. He accused Locke of using her cancer to gain the jury's sympathy, and cryptically suggested that karma would catch up with her.

Locke brought a separate action against Warner Bros. for allegedly conspiring with Eastwood to sabotage her directorial career. As had happened with the previous lawsuit, this ended in an out-of-court settlement in May 1999. By then, Locke had fired Garrity and hired Neil Papiano to represent her. The agreement with Warner Bros., Locke said, was "a happy ending." "I feel elated. This has been the best day in a long, long time," she told reporters on courthouse steps.

Illness; last relationship

A lifelong nonsmoker (save for a few film roles), Locke practiced Transcendental Meditation and worked out with weights, though she hated running. In September 1990, she confirmed reports that she had breast cancer. "Due to factors in my personal life, I have sustained two years of extreme and unnecessary stress, which my doctors tell me has been my enemy," Locke said at the time.

Locke underwent a double mastectomy at Cedars-Sinai Medical Center, followed by chemotherapy. Unfazed by their 17-year age difference—and the fact Locke was just three years younger than his mother—they soon went public with the romance, dining at paparazzi hotspot Spago on one of their early dates in November 1990. Cunneen moved in with her in the spring of 1991. Built in 1925, the home's interior was redesigned to look like Locke's old house on Stradella Road. French historian Pierre Maraval's documentary L'album secret de Clint Eastwood (2012), partially filmed at Locke's last home, stated in the narration that she lived alone.

In 2015, after a 25-year period of apparent remission, Locke's cancer returned and metastasized to her bones.

Death

Locke died at age 74 on November 3, 2018, at her Los Angeles home from cardiac arrest related to breast and bone cancer. Her remains were cremated on November 9 at Pierce Brothers Westwood Village Memorial Park and Mortuary and the ashes were given to her widower, Gordon Anderson. Locke bequeathed Anderson an estimated fortune of $20 million and seemed to have always supported him financially. Basic facts had been kept so hidden that The New York Times noted 41 days after she died: "A list of survivors was not immediately [sic] available."

Locke's death received no television coverage except for a 15-second spot on ABC World News Tonight. Eastwood did not comment on the death, nor did any of Locke's other living exes, nor any of her friends or relatives. Co-stars such as Richard Dreyfuss, Cicely Tyson, Louie Anderson, Sally Kellerman, Stacy Keach, and Ted Neeley—all active on social media—were equally silent. On the 91st Academy Awards telecast, broadcast nearly four months after Locke died, she was omitted from the "In Memoriam" segment. In absence of any explanation, some surmised that Locke requested the blackout in her final wishes, perhaps to keep her real age under wraps.]]

thumb|Locke at a 1968 press conference

Locke is remembered as an early pioneer for women in Hollywood. She was one of 11 female filmmakers in 1990, the year WB released her sophomore feature, Impulse. The avowal made Locke "a talking-point in America's sexual politics debate," according to The Guardians Peter Bradshaw.

Cinematographer David Worth credits Locke with his big break. She is admired by such actresses as Frances Fisher and Rosanna Arquette, who applauded the strength of her directorial accomplishments, however short-lived.

During the last quarter of her life, Locke maintained she was blacklisted from the film industry as a result of her acrimonious split from Eastwood, California's Supreme Court ruled that access to civil trials could no longer be closed to the public.

Numerous outlets faced pushback over their chosen headlines for Locke's obituary. Several major publications prefaced news of her death by tagging Eastwood's name atop the article, which drew criticism by some who deemed it a sexist epitaph, with fans online pointing out that Locke was an Oscar nominee prior to meeting Eastwood. Women's blog Jezebel criticized The Hollywood Reporter for ostensibly regarding Locke as a nonentity; THR subsequently changed its headline.

Candid photographs of Locke and Eastwood in their heyday are on display at the Frazetta Art Museum in East Stroudsburg, Pennsylvania, next to Frank Frazetta's exaggerated portrait of the couple that was used on the poster for The Gauntlet (1977). One film in which she appeared—The Outlaw Josey Wales (1976)—has been preserved in the National Film Registry.

The end credits of Bad Therapy (2020) pay homage to her.

Our Very Own

In 1971, fifth graders at Eastside Elementary in Locke's hometown of Shelbyville, Tennessee, were left star-struck when Locke made a visit and held pretend "auditions" in the class to show them what it was like in Hollywood. Locke attended one of those performances in 2004 at the Tiffany Theater in West Hollywood. "The minute she heard the first reference to her or to her family, she threw up her arms: 'What the hell is this? Watson said. "By the end of the reading, she was doubled over." Locke gave the script her blessing and accepted an invitation to be special guest at the film's premiere. The movie was a "special gift" to Locke, according to Deborah Obenchain, another Eastside student who said she did not think Locke really understood her impact on the small town she once called home. "I think it meant just as much to her. … In our own way … we got to live out a little bit of our dreams by making the movie and meeting her."

|-

|1970

|Cover Me Babe

|Melisse

|

|

|-

|1971

|Willard

|Joan Simms

|

|

|-

|1972

|A Reflection of Fear

|Marguerite

|

|

|-

|1972

|The F.B.I.

|Regina Mason

|Episode: "Dark Christmas"

|

|-

|1977

|The Gauntlet

|Augustina 'Gus' Mally

|

|

|-

|1980

|Bronco Billy

|Antoinette Lily

|Nominated—Golden Raspberry Award for Worst Actress

|

|-

|1980

|Any Which Way You Can

|Lynn Halsey-Taylor

|

|

|-

|1982

|Rosie: The Rosemary Clooney Story

|Rosemary Clooney

|TV movie

|

|-

|1999

|The Prophet's Game

|Adele Highsmith (adult)

|

|

|}

As director

{|class="wikitable sortable"

|-

!Year

!Title

!class="unsortable"|

|-

|1986

|Ratboy

|

|-

|1990

|Impulse

|

|-

|1995

|Death in Small Doses

|

|-

|1997

|Trading Favors

|

|-

|1962

|Life with Father

|Mary Skinner

|Tucker Theater, Murfreesboro, Tennessee

|

|-

|1964

|The Innocents

|Flora

|Circle Theater, Nashville, Tennessee

|

|-

|1964

|A Thousand Clowns

|Dr. Sandra Markowitz

|Circle Theater, Nashville, Tennessee

|

|-

|1965

|Night of the Iguana

|Charlotte Goodall

|Circle Theater, Nashville, Tennessee

|

|-

|1967

|Tiger at the Gates

|Helen of Troy

|Vanderbilt Theatre, Nashville, Tennessee

|

|}

Discography

  • 1978, "I Seek The Night / Don't Say You Don't Love Me No More", Elektra Records: E46007
  • 1980, "Too Loose", Warner Records: WB49674

Footnotes

<gallery>

Sondra Locke, 1959.jpg|Sophomore basketball portrait, 1959

Sondra Locke senior portrait.jpg|Senior yearbook photo, 1962

Sondra Locke 1966.jpg|Modeling wardrobe by Bobbie Brooks, 1966

Eastwood Locke Frazetta.jpg|With Eastwood on a visit to Frank Frazetta, 1977

Clint & Sondra & Burt & Loni.jpg|At the City Heat premiere with Eastwood, Burt Reynolds and Loni Anderson, 1984

</gallery>

See also

  • Age fabrication
  • False premise
  • List of actors with Academy Award nominations
  • List of female film and television directors
  • List of Middle Tennessee State University people

References

  • Sondra Locke at the British Film Institute
  • [ Sondra Locke] at AllMusic