Constance Frances Marie Ockelman (November 14, 1922 – July 7, 1973), known professionally as Veronica Lake, was an American film, stage, and television actress. Lake was best known for her femme fatale roles in films noir with Alan Ladd during the 1940s, her peek-a-boo hairstyle, and films such as Sullivan's Travels (1941) and I Married a Witch (1942). By the late 1940s, Lake's career began to decline, in part because of alcoholism. She made only one film in the 1950s, but had several guest appearances on television. She returned to the big screen in the film Footsteps in the Snow (1966), but the role failed to revitalize her career.
Lake's memoir, Veronica: The Autobiography of Veronica Lake, was published in 1970. Her final screen role was in a low-budget horror film, Flesh Feast (1970). After years of heavy drinking, Lake died at the age of 50 in July 1973, from hepatitis and acute kidney injury.
Early life
Lake was born Constance Frances Marie Ockelman in the New York City borough of Brooklyn. Her father, Harry Eugene Ockelman, was of German and Irish descent, and worked for an oil company aboard a ship. He died in an oil tanker explosion in Marcus Hook, Pennsylvania. in 1932. Lake's mother, Constance Frances Charlotta (née Trimble; 1902–1992), of Irish descent, in 1933 married Anthony Keane, a newspaper staff artist also of Irish descent, and Lake began using his surname.
The Keanes lived in Saranac Lake, New York, where young Lake attended St. Bernard's School. She was then sent to Villa Maria, an all-girls Catholic boarding school in Montreal, Canada, from which she was expelled. Lake later claimed she attended McGill University and took a premed course for a year, intending to become a surgeon. This claim was included in several press biographies, although Lake later admitted it was bogus. Lake subsequently apologized to the president of McGill, who was simply amused when she explained her habit of self-dramatizing. In 1936, the Keane family moved to Miami, Florida.
Career
Constance Keane
In 1938, the Keanes moved to Beverly Hills, California. While briefly under contract to MGM, Lake enrolled in that studio's acting farm, the Bliss-Hayden School of Acting (now the Beverly Hills Playhouse). She made friends with a girl named Gwen Horn and accompanied her when Horn went to audition at RKO. A theatre critic from the Los Angeles Times called her "a fetching little trick" for her appearance in She Made Her Bed.
Keane's first appearance on screen was as an extra for RKO, playing a small role as one of several students in the film Sorority House (1939). The part wound up being cut from the film, but she was encouraged to continue. Similar roles followed, including All Women Have Secrets (1939), Dancing Co-Ed (also 1939), Young as You Feel (1940), and Forty Little Mothers (also 1940). Forty Little Mothers was the first time she let her hair down on screen.
Name change and stardom
thumb|Publicity photo for [[I Wanted Wings (1941)]]
Lake attracted the interest of Fred Wilcox, an assistant director, who shot a test scene of her performing from a play and showed it to an agent. The agent, in turn, showed it to producer Arthur Hornblow Jr., who was looking for a new girl to play the part of a nightclub singer in a military drama, I Wanted Wings (1941). Hornblow changed the actress's name to Veronica Lake. According to him, her eyes, "calm and clear like a blue lake", were the inspiration for her new name.
The film became a big hit, and made the teenage Lake a star overnight; even before the film came out, Lake was dubbed "the find of 1941". During filming, Lake's long blonde hair accidentally fell over her right eye during a take and created a "peek-a-boo" effect. "I was playing a sympathetic drunk, I had my arm on a table ... it slipped ... and my hair – it was always baby fine and had this natural break – fell over my face ... It became my trademark and purely by accident", she recalled. However, Lake did not think this meant she would have a long career and maintained her goal was to be a surgeon. "Only the older actors keep on a long time ... I don't want to hang on after I've reached a peak. I'll go back to medical school", she said. Instead, she was cast in Preston Sturges's Sullivan's Travels with Joel McCrea; and film noir This Gun for Hire (1942) with Robert Preston and Alan Ladd. Her scenes with Ladd in the latter became popular with audiences, prompting Paramount to reteam them in The Glass Key, with Lake replacing Patricia Morison in the leading role. Lake was meant to be reunited with McCrea in the comedy I Married a Witch, but his withdrawal from the project led to a delay in production; Fredric March was eventually cast as his replacement. Both films were highly successful, but also prevented a reunion with Hornblow for Hong Kong in which she was meant to co-star with Charles Boyer.
thumb|The trailer for Sullivan's Travels
Upon the United States' entrance into World War II, Lake traveled throughout the United States to raise money for war bonds. She also became a popular pin-up girl for soldiers, Lake's only 1943 releases were both patriotic-themed. She made an appearance in Paramount's all-star musical revue Star Spangled Rhythm performing "A Sweater, Sarong and a Peek-A-Boo Bang" with Paulette Goddard and Dorothy Lamour. Her only film of the year was So Proudly We Hail! (1943) with Goddard and Claudette Colbert, in which she received acclaim for her role of a suicidal nurse. At the peak of her career, she was earning $4,500 a week. Lake also clashed with co-star McCrea to the point that he dropped out of I Married a Witch, reportedly saying that "Life's too short for two films with Veronica Lake" (although he did later go on to work with her in Ramrod (1947)). His replacement Fredric March also clashed with Lake after he made crude remarks about her during pre-production. Eddie Bracken was quoted as saying, "She was known as 'The Bitch' and she deserved the title." I Married A Witch director René Clair had a differing view of Lake, saying "She was a very gifted girl, but she didn't believe she was gifted." Lake's behavior eventually spilt over into public view during a publicity stunt in which Lake's services as a dishwasher and revue performer were auctioned off for war bonds. One paper claimed Lake's "talk was on the grim side", while columnist Hedda Hopper claimed that "Lake clipped her own wings in her Boston bond appearance ... It's lucky for Lake, after Boston, that she isn't out of pictures".
With her role in The Hour Before the Dawn (1944), Lake changed her trademark hairstyle to encourage women working in war industry factories to adopt more practical, safer hairstyles. Lake had done so at the urging of the government to help decrease accidents involving women getting their hair caught in machinery. However, neither film was successful, as were minor roles in Out of This World and Miss Susie Slagle's (1946).
Final years at Paramount and freelance
thumb|left|upright 1.2|Lake and [[Alan Ladd in trailer for The Blue Dahlia (1946)]]
After her role in Miss Susie Slagle's, producer John Houseman cast Lake in the film noir The Blue Dahlia (1946). The film reunited her with Alan Ladd, who had become one of Paramount's top stars since their last pairing in The Glass Key. Lake was pleased with the role, but her performance in the film did not impress its screenwriter Raymond Chandler, who referred to her as "Moronica Lake". Nonetheless, it became her first success since So Proudly We Hail! and the largest of her career.
For the first time in her career, Lake ventured outside of Paramount with the United Artists Western Ramrod (1947). The film was directed by her then-husband Andre de Toth, in their first collaboration. The film also reunited her with Joel McCrea, despite his earlier insistence that he would not work with her again. The film was also successful, continuing her comeback.
Following a cameo in Variety Girl (1947), Lake and Ladd reunited again for the crime film Saigon (1948). Lake returned to her former peek-a-boo hairstyle for the film, which unlike their previous films was not a noir. Reaction to the film was mixed; although financial success, it received a more mixed critical reception in comparison to the couple's earlier vehicles. Coupled with the flops The Sainted Sisters and Isn't It Romantic, Paramount opted not to renew Lake's contract in 1948.
Following her release from Paramount, Lake took a top supporting role in Slattery's Hurricane (1949). The film, directed by de Toth, was released by 20th Century Fox. She also appeared with Zachary Scott in the Western Stronghold (1951). Shot in Mexico for Lippert Pictures, Lake later described the film as "a dog" and sued for unpaid wages on the film.
Lake and de Toth announced plans to make Flanagan Boy and Before I Wake, the latter from a suspense novel by Mel Devrett. However, neither were made as the couple ran into financial difficulties. In April 1951, the IRS seized their home for unpaid taxes. Later that same year, Lake and de Toth filed for bankruptcy. Bankrupt and on the verge of a nervous breakdown, Lake left de Toth and flew alone to New York. Reflecting on her departure years later, Lake said: