Remembering Kathleen Hughes: The Scream Queen Who Captivated Hollywood for Decades

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Kathleen Hughes Rubin, often known as the ‘scream queen’, had a long and fruitful career in Hollywood that spanned close to a century. Contrary to her on-screen persona as a seductive film star from the 1950s, she cherished a lasting marriage with producer Stanley Rubin, and was an adored mother of four and a delight to everyone who had the pleasure of knowing her.

The death of Kathleen Hughes on May 19 at the age of 96 marked the end of a sentimental era in film history for those belonging to the baby boomer generation, who grew up watching her films. For me, her demise was more than just a passing; it felt like losing a treasured companion. Kathy’s film career took off during the late 1940s when the studio system was transitioning into what could be considered its ‘Cretaceous Period’, as it introduced technologies such as CinemaScope, Vista Vision, Cinerama and others to compete with television. Science fiction and film noir were significantly impacted by the brief craze of 3D, with Kathy making a name for herself in films like “It Came From Outer Space” and “The Glass Web.

With exceptional beauty and a body to complement it, she humorously commented on her past roles by saying, “Back then, I was quite multi-faceted.

Kathy was well-known for her contagious laughter, which was a defining feature of her personality as a Hollywood actress. This cheerful exuberance was always present within her, even amidst the tough challenges that came with the industry’s highs and lows. She had a genuine love for “the biz,” and she never lost this enthusiasm, even when faced with disappointments such as working opposite a dream crush who turned out to be less than pleasant or dealing with difficult directors whose inappropriate behavior was unfortunately common during that time. Despite the prevalence of disrespectful attitudes towards women from powerful men in the film industry, Kathy remained unsentimental and straightforward, never hesitating to speak her mind while standing firm against any unacceptable behavior.

Approximately twenty years ago, I encountered Kathy and her husband, Stanley Rubin, during one of my early conversations with Stanley about his work on the film “The Narrow Margin” (1952) for my biography about the tough guy actor Charles McGraw. This charming duo were frequently spotted together in town at movie screenings and social events, which led to our friendship. Though he had a brief spell as a dashing bachelor in Hollywood, dating stars like Judy Garland and Gloria Grahame before tying the knot with Kathy in 1954, Stanley was ultimately a devoted family man and a true gentleman of the old school. He would always rise whenever a woman entered the room even in his nineties. Their first date took place at a Fox screening room, where they watched the final cut of “River of No Return” (1954), featuring Marilyn Monroe and Robert Mitchum. Stanley’s negotiating skills as a producer were put to the test when he became the go-between for an insecure Monroe and the film’s volatile director, Otto Preminger. Over time, they grew close to Marilyn, and later attended and spoke at events remembering her 1962 passing.

In my cinematic-loving perspective, their abode perched above the Sunset Strip was adorned with career highlights, a visual journey of their accomplishments. Kathy’s mementos were scattered across different corners, with a bathroom particularly embellished with lobby cards from her movies. The living room showcased family snapshots and a piano, atop which sat framed photographs. One night, I spotted a photo of actor Herbert Lom on the piano and inquired Stanley about his acquaintance. He subtly hinted, “Ask my wife about that,” so I did. Kathy, always bubbly, shared her affection, “I never met him personally, but oh, how I admired Herbert Lom… He was incredibly handsome, so I placed his picture there!

As a cinephile myself, it’s no secret that Kathy, born Elizabeth (Betty) von Gerkan in Los Angeles on Nov. 14, 1928, has always worn her admiration for the silver screen on her sleeve. From day one, her infectious excitement for acting remained constant. She once shared with me that she chose to be an actress to disprove her uncle, the screenwriter F. Hugh Herbert. “He claimed I was too tall for Hollywood,” she said, “because all the leading men back then were quite diminutive!

Stanley and Kathy worked together closely. Inviting one to screenings of their movies wasn’t an option; it was always both of them, which was delightful to witness as they encouraged each other. As her own career dwindled due to the challenges of raising four children and the unpredictable nature of Hollywood, Kathy remained supportive of Stanley’s career as well as that of her friends. From Marilyn Monroe to Mamie Van Doren, Kathy was a constant presence at events celebrating her friends and colleagues throughout the years. Having her attend screenings of her films was always a pleasure. The audience admired her enthusiastic spirit and cherished her stories, whether she was sharing tales about how she managed to secure a minor but impactful role in “It Came From Outer Space,” joyfully recounting how she whipped Marla English in “Three Bad Sisters,” or discussing her love scene with Edward G. Robinson in “The Glass Web” — whispering, “He was an exceptional kisser!

The most striking moment Kathy recalled was the iconic panic-stricken photograph from “It Came From Outer Space,” where she was shown screaming and gesturing wildly. Her likeness subsequently graced advertisements, greeting cards, bottles of hot sauce, novelty items, and even the flags adorning a New York City record store – without her consent or financial remuneration. It became increasingly problematic. As Stanley put it, “When I saw my wife’s image on condom packaging, I contacted my lawyer.”

The image that stuck with Kathy the most was the well-known publicity shot from “It Came From Outer Space,” depicting her in a state of terror and raising her hands. Her visage ended up on various advertisements, greeting cards, hot sauce bottles, and all sorts of joke gifts; it was even employed as decorative advertising on flags hanging in a Manhattan record store – without her prior approval or payment. It eventually became an issue. As Stanley pointed out, “When I saw my wife’s image on condom wrappers, I reached out to my attorney.

2014 marked the start of the year when Stanley, who appeared timeless, started to decline in his 97th year. A few months later, Kathy called me to share the news that he had passed away serenely in his sleep. I expressed my profound sadness but not surprise, and Kathy replied, “I understand. That’s why I invited you and Jemma for dinner earlier. I wanted you both to see Stanley one last time.

Last year, I kept in contact with Kathy and extended an invitation for her to join me at a classic sci-fi festival held in Palm Springs. Fast forward to 2021, when I showcased “The Narrow Margin” during a noir festival at the Hollywood Legion Theater, I once again invited Kathy. Although age was starting to take its toll on her, her passion for films remained undiminished. She was overjoyed to be surrounded by appreciative film enthusiasts who recognized and celebrated one of her late husband’s most esteemed works.

I’ll forever cherish Kathy, not just as half of a remarkable duo but as an extraordinary individual in her own right. Beyond being the perfect partner who enriched their relationship with love and encouragement, she was a nurturing mother to a thriving family, and a beacon of friendship that brought joy to everyone fortunate enough to know her. Kathy was truly unique, and it was an honor to have known her. She will leave behind a void that cannot be filled.

Renowned film historian Alan K. Rode is known for his book, “Michael Curtiz, A Life in Film,” as well as other publications. He currently serves as both the director and treasurer for the Film Noir Foundation. Additionally, he hosts and produces the annual Arthur Lyons Film Noir Festival held in Palm Springs.


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2025-05-27 04:48