One of Corday's first professional jobs was as a dancer in the Earl Carroll Revue in Hollywood.[3] Accompanied by her mother, Corday auditioned when she was 15 years old. During the 2½ years that she was in the show, she advanced "from showgirl to actress in the sketches".[4] This was also when she adopted the stage name Mara Corday, because it made her seem more exotic. The name Mara came from a bongo player who called her Marita when Corday was working as an usher at the Mayan Theater; the name Corday was lifted from a bottle of perfume.[5]
A few years after her husband's death in 1974, Corday's old friend Eastwood offered her a chance to return to films with a role in his 1977 film The Gauntlet. She also had a brief but significant role in Sudden Impact (1983), where she played the waitress who dumped sugar into the coffee of Det. Harry Callahan in that film's iconic "Go ahead, make my day" sequence.[9] She acted with Eastwood again in his 1989 film Pink Cadillac, as well as in her last film, 1990's The Rookie.
In 1956, Corday had a recurring role in the ABC television series Combat Sergeant.[13] From 1959 to early 1961, Corday worked exclusively doing guest spots on various television series, such as Peter Gunn in the episode, “Keep Smiling”.
She also guest starred with Steve McQueen in Wanted: Dead or Alive in April 1960.
Personal life
Following the 1955 death of Suzan Ball, the first wife of actor Richard Long, Corday began dating Long, and they married in 1957. Through Long's sister Barbara, Corday was a sister-in-law of actor Marshall Thompson.[citation needed]
In the early 1960s, Corday gave up her career to devote herself to raising a family. Widowed in 1974, she had three children with Long, during their 17-year marriage: Valerie, Carey and Gregory.[3]
Corday has also been a lifelong friend of actor Clint Eastwood, whom she met while working for Universal Pictures.[9]
^Williams, Tony (November 1985). "Female Oppression in "Attack of the 50-Foot Woman" (L'oppression des femmes dans "Attack of the 50-Foot Woman")". Science Fiction Studies. 12 (3): 264–273. JSTOR4239701.