Edith Atwater, born in Chicago in 1911, made her mark in cult cinema with her performances in Strange Bedfellows (1965) and Daddy's Gone A-Hunting (1969). With a career that began on Broadway in 1933, Atwater transitioned to film, where her sharp presence added depth to the narratives of the 1960s. In Daddy's Gone A-Hunting, she plays a pivotal role that underscores the psychological tension of the era. Her contributions to these films reflect the unique blend of drama and suspense that defines cult cinema.
Strange Bedfellows
In London, stuffy statesman Carter Harrison meets Toni, a Bohemian artist with a hot Italian temper. The two impulsively marry and then find that they disagree on everything. Shortly afterward they separate. We then meet them five years later on the eve before their divorce becomes final. After seeing each other again, sparks are reignited and they spend the night together. Reality sets in when morning comes and they begin arguing again. Once again, divorce proceedings are on, until Carter that an important promotion hinges on whether he's married. He schemes to win back Toni and eventually succeeds. But can he keep her from destroying his career by posing as Lady Godiva in a protest movement?
