The American actor Teri Garr, who has died aged 79, once said: “I’ve spent a lot of time clawing my way to the middle.” That remark could have sprung from the lips of any of the fizzy, dizzy, nakedly neurotic women who were her speciality from the mid-1970s onwards.
In Mel Brooks’s horror pastiche Young Frankenstein (1974), she was Inga, the bubbly laboratory assistant who, when proposing a roll in the hay, means precisely that and nothing more. She played the wives of troubled men in two very different fantasies from 1977.
In Steven Spielberg’s Close Encounters of the Third Kind, she tries to keep her children chipper while their father (Richard Dreyfuss), a UFO obsessive, descends into madness. In the comedy Oh, God!, in which her husband (John Denver) is visited by the wisecracking Almighty (George Burns), she says tearfully: “I went to empty the garbage and two people blessed me. And then one of them blessed the garbage.” In both instances she invested stay-at-home sidekick roles with abundant warmth, humour and generosity.
Younger audiences came to know Garr as the mother of Phoebe Buffay (Lisa Kudrow) in the 1990s sitcom Friends, but her career high point was Tootsie (1982), starring Dustin Hoffman as a cross-dressing actor. Playing Sandy, his sometime lover waiting for her big acting break, Garr was touchingly grounded. She improvised some of her funniest moments, such as being locked in the bathroom and then resolving to use the experience in her acting work, and made comic capital out of the way in which the tiniest knock could send Sandy’s self-esteem plummeting. Most magically, she brought dignity to a part that could have come across as a doormat. Garr was Oscar-nominated but lost out to Jessica Lange for her performance in the same film.
The production was famously troubled, passing through so many writers and potential directors that there were rumours of an “I Also Wrote/ I Almost Directed Tootsie” club in Hollywood. Hoffman and the eventual director, Sydney Pollack, spent most of the protracted 100-day shoot either at loggerheads or communicating only through intermediaries.
Garr found Hoffman exhausting. “It’s not enough to give in to him,” she said. “You have to like what he wants too!” Such off-screen troubles only made the delightful end result all the more miraculous. In the escalating mania of the picture’s final stretch, Garr came into her own with her killer timing and gasping indignation.
She was born in Lakewood, Ohio, to showbiz parents: Phyllis Lind, born Emma Schmotzer, was a dancer with the Rockettes, while Eddie Garr, born Edward Gonnoud, was a vaudeville performer and actor who starred alongside a young Marilyn Monroe in Ladies of the Chorus (1948). After he died when Garr was 11, the family moved from their home in New Jersey to Hollywood, where her mother became a wardrobe mistress for film and television.
From an early age Garr harboured aspirations to be an actor and dancer. At 13 she performed with a professional ballet company in San Francisco. She was educated at Magnificat high school, Ohio, North Hollywood high school and California State University at Northridge before appearing in the West Side Story road show and Donald O’Connor’s revue at the Cocoanut Grove club.
Garr’s earliest film appearances were as a background dancer in Elvis Presley movies; she appeared in nine including Fun in Acapulco (1963), Kissin’ Cousins, Viva Las Vegas (both 1964) and Clambake (1967). She began taking acting lessons and found herself in the same class as Jack Nicholson, who was writing the deranged film Head (1968) as a vehicle for the Monkees. He doled out small parts to his classmates, providing Garr with her first speaking role as a woman who suffers a snakebite. (“Quick,” she tells Micky Dolenz, proffering an injured finger, “suck it before the venom reaches my heart.”)
She became a regular in the early and mid-70s on The Sonny & Cher Show – she based Inga’s accent in Young Frankenstein on Cher’s German wig stylist – and appeared on sitcoms such as The Bob Newhart Show and M*A*S*H.
Francis Ford Coppola gave her a small role in his surveillance thriller The Conversation (1974) and she was also part of the ensemble cast in two ramshackle US comedies by British directors: Michael Winner’s star-studded Won Ton Ton, the Dog Who Saved Hollywood (1976) and John Schlesinger’s Honky Tonk Freeway (1981).
After playing the young hero’s mother in the lyrical Coppola-produced adventure The Black Stallion (1979), Garr became part of the director’s Zoetrope Repertory Company, appearing in other films produced or directed by him.
“Instead of getting a big chunk of money for a movie, I’d take a weekly cheque or a small amount, because we were all going to share the profits later. After a while, even the small cheques stopped coming.” Zoetrope productions in which she starred included The Escape Artist and the stylised but commercially disastrous musical One from the Heart (both 1982). Of the latter, Garr said: “It was over-rehearsed. After you have done a scene 25 times, you have no energy left, you don’t care.”
She was one of the leads in The Sting II, a lacklustre sequel to the 1973 con-artist comedy film. She briefly reprised her role in The Black Stallion Returns and played the wife to a house-husband (Michael Keaton) in Mr Mom (both 1983).
A rare foray into straight drama came as a divorced woman taking up with a cad in Michael Apted’s Firstborn (1984), and she was wickedly funny in Martin Scorsese’s black comedy After Hours (1985) as a Monkees-obsessed, beehive-sporting waitress whose cupboards are stacked with cans of hairspray (a touch that Garr herself suggested).
In Miracles (1986), she and Tom Conti played a couple who reassess their relationship when they are kidnapped on the brink of divorce. Further roles included the gentle drama Full Moon in Blue Water (1988) and the crime caper Out Cold (1989), as well as supporting parts in Dumb and Dumber (1994), the Watergate comedy Dick (1999) and Terry Zwigoff’s wry comic-book adaptation Ghost World (2001).
In 2002, Garr announced that she had been diagnosed with multiple sclerosis. Three years later, she published an autobiography, Speedbumps: Flooring It Through Hollywood, which she originally planned to title Does This Wheelchair Make Me Look Fat? In 2006 she suffered a brain aneurysm that inhibited her speech and movement, though she recovered both after months of rehabilitation. Her last film appearances were in two well-liked indie comedy-dramas, Expired and Kabluey (both 2007), made before the aneurysm.
When she expressed her dissatisfaction with the roles that she had been offered, it was sometimes hard to tell if she was being comically self-deprecating. “Directors would tell me, ‘We want you to play a character a little less complex than you are.’ Yeah, sure. What they mean is, ‘You’re playing a dummy.’” No part inhabited by Garr, though, was ever so easily pigeonholed. Her particular talent lay in introducing a sparkling comic complexity far beyond what existed on the page.
She is survived by her daughter, Molly, from her three-year marriage to the actor John O’Neil, which ended in divorce in 1996.