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‘Laverne & Shirley’ Actor Cindy Williams Dies at 75

In this file photo taken on April 14, 2012 Actress Cindy Williams attends the 10th Annual TV Land Awards at the Lexington Avenue Armory in New York City. (AFP)
In this file photo taken on April 14, 2012 Actress Cindy Williams attends the 10th Annual TV Land Awards at the Lexington Avenue Armory in New York City. (AFP)
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‘Laverne & Shirley’ Actor Cindy Williams Dies at 75

In this file photo taken on April 14, 2012 Actress Cindy Williams attends the 10th Annual TV Land Awards at the Lexington Avenue Armory in New York City. (AFP)
In this file photo taken on April 14, 2012 Actress Cindy Williams attends the 10th Annual TV Land Awards at the Lexington Avenue Armory in New York City. (AFP)

Cindy Williams, who was among the most recognizable stars in America in the 1970s and 1980s for her role as Shirley opposite Penny Marshall's Laverne on the beloved sitcom "Laverne & Shirley," has died, her family said Monday.

Williams died in Los Angeles at age 75 on Wednesday after a brief illness, her children, Zak and Emily Hudson, said in a statement released through family spokeswoman Liza Cranis.

"The passing of our kind, hilarious mother, Cindy Williams, has brought us insurmountable sadness that could never truly be expressed," the statement said. "Knowing and loving her has been our joy and privilege. She was one of a kind, beautiful, generous and possessed a brilliant sense of humor and a glittering spirit that everyone loved."

Williams worked with some of Hollywood's most elite directors in a film career that preceded her full-time move to television, appearing in George Cukor's 1972 "Travels With My Aunt," George Lucas' 1973 "American Graffiti" and Francis Ford Coppola's "The Conversation" from 1974.

But she was by far best known for "Laverne & Shirley," the "Happy Days" spinoff that ran on ABC from 1976 to 1983 that in its prime was among the most popular shows on TV.

Williams played the straitlaced Shirley Feeney to Marshall's more libertine Laverne DeFazio on the show about a pair of blue-collar roommates who toiled on the assembly line of a Milwaukee brewery in the 1950s and 1960s.

"They were beloved characters," Williams told The Associated Press in 2002.

DeFazio was quick-tempered and defensive; Feeney was naive and trusting. The actors drew upon their own lives for plot inspiration.

"We’d make up a list at the start of each season of what talents we had," Marshall told the AP in 2002. "Cindy could touch her tongue to her nose and we used it in the show. I did tap dance."

Williams told The Associated Press in 2013 that she and Marshall had "very different personalities" but tales of the two clashing during the making of the show were "a bit overblown."

The series was the rare network hit about working-class characters, with its self-empowering opening song: "Give us any chance, we’ll take it, read us any rule, we’ll break it."

That opening would become as popular as the show itself. Williams’ and Marshall’s chant of "schlemiel, schlimazel" as they skipped along together became a cultural phenomenon and oft-invoked piece of nostalgia.

Marshall, whose brother, Garry Marshall, co-created the series, died in 2018.

Actor Rosario Dawson shared a video of the opening theme on Twitter on Tuesday.

"Singing this song with so much gratitude for both of you ladies," Dawson tweeted. "Absolute gems. United again… Rest in Paradise Cindy Williams."

The show also starred Michael McKean and David Lander as Laverne and Shirley's oddball hangers-on Lenny and Squiggy. Lander died in 2020.

McKean paid tribute to Williams on Twitter with a memory from the production.

"Backstage, Season 1: I’m offstage waiting for a cue. The script’s been a tough one, so we’re giving it 110% and the audience is having a great time," McKean tweeted. "Cindy scoots by me to make her entrance and with a glorious grin, says: ‘Show’s cookin’!’ Amen. Thank you, Cindy."

As ratings dropped in the sixth season, the characters moved from Milwaukee to Burbank, California, trading their brewery jobs for work at a department store.

In 1982, Williams became pregnant and wanted her working hours curtailed. When her demands weren’t met, she walked off the set, and filed a lawsuit against its production company. She appeared infrequently during the final season.

Williams was born one of two sisters in the Van Nuys area of Los Angeles in 1947. Her family moved to Dallas soon after she was born, but returned to Los Angeles, where she would take up acting while attending Birmingham High School and a major in theater arts at LA City College.

Her acting career began with small roles in television starting in 1969, with appearances on "Room 222," "Nanny and the Professor" and "Love, American Style."

Her part in Lucas' "American Graffiti" would become a defining role. The film was a forerunner to a nostalgia boom for the 1950s and early 1960s that would follow. "Happy Days," starring her "American Graffiti" co-star Ron Howard, would premiere the following year. The characters of Laverne and Shirley made their first TV appearance as dates of Henry Winkler's Fonzie before they got their own show.

Lucas also considered her for the role of Princess Leia in "Star Wars," a role that went to Carrie Fisher.

In the past three decades, Williams made guest appearances on dozens of TV series including "7th Heaven," "8 Simple Rules" and "Law and Order: Special Victims Unit." In 2013, she and Marshall appeared in a "Laverne & Shirley" tribute episode of the Nickelodeon series "Sam and Cat."

Last year, Williams appeared in a one-woman stage show full of stories from her career, " Me, Myself and Shirley," at a theater in Palm Springs, California, near her home in Desert Hot Springs.

Williams was married to singer Bill Hudson of musical group the Hudson Brothers from 1982 until 2000. Hudson was father to her two children. He was previously married to Goldie Hawn and is also the father of actor Kate Hudson.

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Michael Douglas and Danny DeVito Revisit ‘One Flew over the Cuckoo’s Nest’ for Its 50th Anniversary

Michael Douglas, left, and Danny DeVito appear at the 5th Annual Reel Stories, Real Lives Benefit on April 7, 2016, in Los Angeles. (AP)
Michael Douglas, left, and Danny DeVito appear at the 5th Annual Reel Stories, Real Lives Benefit on April 7, 2016, in Los Angeles. (AP)
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Michael Douglas and Danny DeVito Revisit ‘One Flew over the Cuckoo’s Nest’ for Its 50th Anniversary

Michael Douglas, left, and Danny DeVito appear at the 5th Annual Reel Stories, Real Lives Benefit on April 7, 2016, in Los Angeles. (AP)
Michael Douglas, left, and Danny DeVito appear at the 5th Annual Reel Stories, Real Lives Benefit on April 7, 2016, in Los Angeles. (AP)

Jack Nicholson did not want to go to the Oscars. It was 1976 and he was nominated for best actor in “One Flew Over the Cuckoo’s Nest.” The Miloš Forman film, which is celebrating its 50th anniversary with a nationwide theatrical re-release on July 13 and July 16, had become a bit of a sensation — the second highest grossing picture of 1975, behind “Jaws,” and had received nine Oscar nominations.

But Nicholson wasn’t feeling optimistic. In five years, he’d already been nominated five times. He’d also lost five times. And he told his producer, Michael Douglas, that he couldn’t go through it again.

“I remember how hard I had to persuade Jack to come to the ceremony. He was so reluctant, but we got him there,” Douglas said in a recent interview with The Associated Press. “And then of course we lost the first four awards. Jack was sitting right in front of me and sort of leaned back and said ’Oh, Mikey D, Mikey D, I told you, man.’ I just said, ‘Hang in there.’”

Douglas, of course, was right. “One Flew Over the Cuckoo’s Nest” would go on to sweep the “big five” — screenplay, director, actor, actress and picture — the first film to do so in 41 years, (“It Happened One Night,” in 1934) which only “The Silence of the Lambs” has done since. That night was one of many vindicating moments for a film that no one wanted to make or distribute that has quite literally stood the test of time.

“This is my first 50th anniversary,” Douglas said. “It’s the first movie I ever produced. To have a movie that’s so lasting, that people get a lot out of, it’s a wonderful feeling. It’s bringing back a lot of great memories.”

The film adaption of Ken Kesey’s countercultural novel was a defining moment for Douglas, a son of Hollywood who was stuck in television and got a lifeline to film when his father, Kirk Douglas, gave him the rights to the book, and many of the then-unknown cast like Danny DeVito and Christopher Lloyd.

DeVito was actually the first person officially cast. Douglas, who’d known him for nearly 10 years, brought Forman to see him play Martini on stage.

“Miloš said, ‘Yes! Danny! Perfect! Cast!’” Douglas said in his best Czech accent. “It was a big moment for Danny. But I always knew how talented he was.”

A Joyful Shoot

Though the film's themes are challenging, unlike many of its New Hollywood contemporaries it wasn’t a tortured shoot by any stretch. They had their annoyances (like Forman refusing to show the cast dailies) and more serious trials (they found out halfway through production that William Redfield was dying of leukemia), but for the most part it was fun.

“We were very serious about the work, because Miloš was very serious. And we had the material, Kesey’s work, and the reverence for that. We were not frivolous about it. But we did have a ball doing it,” DeVito said, laughing.

Part of that is because they filmed on location at a real state hospital in Salem, Oregon. Everyone stayed in the same motel and would board the same bus in the morning to get to set. It would have been hard not to bond and even harder if they hadn’t.

“There was full commitment,” Douglas said. “That comes when you don’t go home at night to your own lives. We stopped for lunch on the first day and I saw Jack kind of push his tray away and go outside to get some air. I said, ‘Jack, you OK?’ He said, ’Who are these guys? Nobody breaks character! It’s lunch time and they’re all acting the same way!'”

Not disproving Nicholson’s point, DeVito remembers he and the cast even asked if they could just sleep in the hospital.

“They wouldn’t let us,” DeVito said. “The floor above us had some seriously disturbed people who had committed murder.”

A lasting legacy

The film will be in theaters again on July 13 and July 16 from Fathom Entertainment. It’s a new 4K restoration from the Academy Film Archive and Teatro Della Pace Films with an introduction by Leonard Maltin.

“It’s a gorgeous print and reminds me how good the sound was,” Douglas said.

DeVito thinks it, “holds up in a really big way, because Miloš really was paying attention to all great things in the screenplay and the story originally.”

Besides the shock of “holy Toledo, am I that old?” DeVito said that it was a treasure to be part of — and he continues to see his old friends, including Douglas, Lloyd and, of course, Nicholson, who played the protagonist, R.P. McMurphy.

One person Douglas thinks hasn’t gotten the proper attention for his contributions to “Cuckoo’s Nest” is producer Saul Zaentz, who died in 2014. His music company, Fantasy Records who had Creedence Clearwater Revival, funded the endeavor which started at a $1.6 million budget and ballooned to $4 million by the end. He was a gambler, Douglas said, and it paid off.

And whatever sour grapes might have existed between Douglas and his father, who played R.P. McMurphy on Broadway and dreamt of doing so on film, were perhaps over-exaggerated. It was ultimately important for their relationship.

“McMurphy is as good a part as any actor is going to get, and I’m now far enough in my career to understand maybe you have four, maybe five good parts, really great parts. I’m sure for dad that was one of them,” Douglas said.

“To not be able to see it through was probably disappointing on one side. On the other, the fact that his son did it and the picture turned out so good? Thank God the picture turned out. It would have been a disaster if it hadn’t.”

Douglas added: “It was a fairy tale from beginning to end. I doubt anything else really came close to it. Even my Oscar for best actor years later didn’t really surpass that moment very early in my career.”