Melinda Dillon

Melinda Ruth Dillon (October 13, 1939 – January 9, 2023) was an American actress. She received a 1963 Tony Award nomination for her Broadway debut in the original production of Who's Afraid of Virginia Woolf?, and she was nominated for the Academy Award for Best Supporting Actress for her roles as Jillian Guiler in Close Encounters of the Third Kind (1977) and Teresa Perrone in Absence of Malice (1981). She is well known for her role as Mother Parker in the holiday classic A Christmas Story (1983). Her other film roles include Bound for Glory (1976), Slap Shot (1977), F.I.S.T. (1978), The Muppet Movie (1979), Harry and the Hendersons (1987), Captain America (1990), The Prince of Tides (1991), To Wong Foo, Thanks for Everything, Julie Newmar, How to Make an American Quilt (both 1995), Magnolia (1999), for which she was nominated for a Screen Actors Guild Award, and Reign Over Me (2007). Early life Dillon was born as Melinda Ruth Clardy on October 13, 1939, in Hope, Arkansas, but raised in Cullman, Alabama. After spending four years stationed on a base in Germany, Dillon attended Hyde Park High School and the Goodman School of Drama at the Art Institute of Chicago (now at DePaul University) in Chicago. Career Though best known for her supporting performances in films, Dillon began as an improvisational comedian and stage actress. Recalling her performance as Sonya in a 1961 student production of Chekhov's Uncle Vanya, Alan Schneider wrote:What distinguished and made the whole attempt worthwhile for me was casting the role of Sonya with a young actress named Linda Dillon, who was a senior acting student at Goodman as well as a hanger-on with a Second City troupe that included two young performers named Barbara Harris and Alan Arkin. During our tryouts, John Reich, then the Goodman Theatre's artistic director, had seriously tried to discourage me from using Linda. He admitted her talent but warned me that she was highly volatile and completely unpredictable as an actress. He had found another actress whom he found much more suitable for Sonya. I insisted on using Linda, no matter the consequences. I was fascinated by the combination of her fragility and sensuality, intrigued with the unconventional way in which she was able to make a line seem utterly spontaneous, and impressed with her emotional range and richness. During our four weeks of rehearsal [...], I wound up alternately adoring and hating Linda. She always did too much and yet not enough.