![]() In later years, she was reduced to featured status in films and found some earthy, quirky ladies to inhabit in such films as Alphabet City (1984), Teachers (1984), American Blue Note (1989), Stanley & Iris (1990), The Exorcist III (1990), Alan & Naomi (1992), Last Supper (1992) and The Eden Myth (1999). Lampert graced several TV movies as a second lead or support player including Lady Oscar (1979), The Suicide's Wife (1979), The Girl, the Gold Watch & Everything (1980), The Girl, the Gold Watch & Dynamite (1981) and Izzy & Moe (1985). Kildare," "Naked City," "The Man from U.N.C.L.E.," "I Spy," "Then Came Bronson," "Love, American Style," "The Bob Newhart Show," "Quincy" and an Emmy-winning guest performance as a gypsy in "Kojak." She also was a part of two short-lived series: The Girl with Something Extra (1973) starring Sally Field and Doctors' Hospital (1975). ![]() ![]() Offbeat lead or character roles on such popular programs as "Route 66," "The Defenders," "United States Steel Hour," "The Alfred Hitchcock Hour," "Dr. She was performing primarily on the small screen in She seemed to favor the small screen for the most part in the 60's and 70's. She did score with a neurotic title lead in the low-budgeted cult chiller Let's Scare Jessica to Death (1971). A chameleon-like actress who didn't quite fit into the Hollywood structure as a star personality, Lampert, perhaps because of her ethnic looks, was passed over in such films as Posse from Hell (1961) and Hey, Let's Twist! (1961), A Fine Madness (1966), Bye Bye Braverman (1968) and Some Kind of a Nut (1969). Those two performances alone should have lifted her to the heights, but they didn't. ![]() Pay or Die! (1960), then quietly stole a touching scene towards the end of the film Splendor in the Grass (1961) from both Natalie Wood and Warren Beatty as Beatty's careworn spouse. She received much more attention with her humble, deeply stirring performance as Ernest Borgnine's Italian wife in the minor crime story Following occasional TV guest parts on such programs as "Ford Star Jubilee" and "Decoy," Zohra made a minor film debut in Odds Against Tomorrow (1959). A one-time member of Chicago's Second City comedy troupe, she had a stint with the Lincoln Center Repertory Theatre before turning to Broadway and making her 1958 debut in the play "Maybe Tuesday." She was quickly nominated for two consecutive Tony awards for her superb work in "Look: We've Come Through" (1961) and "Mother Courage and Her Children" (1963), then continued with poignant performances in such productions as "After the Fall" (1964), "Lovers and Other Strangers" (1968) and "The Sign in Sidney Brustein's Window" (1972). She attended Manhattan's High School of Music and Art and later graduated from the University of Chicago. Born in New York City on May 13, 1937, Zohra was the daughter of Russian-born hardware store owners. Genuinely affecting performances, particularly on TV. With soft, vulnerable features managed to contribute a number of Understated quality to her talent that should have gone further in theįilm business than it did. Solemn-looking Middle Eastern-looking Zohra Lampert, with the prominent cheek bones and soothing voicer, had a touching,
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