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Sonja Henie (8 April 1912 – 12 October 1969) was a Norway figure skating and film star. She was a three-time Olympic champion (1928, 1932, 1936) in women's single skating, a ten-time World champion (1927–1936) and a six-time European champion (1931–1936). Henie won more Olympic and World titles than any other ladies' figure skater. She is one of only two skaters to defend a ladies' singles Olympic title, the other being Katarina Witt, and her six consecutive European titles have only been matched by Witt.
At the height of Henie's American acting career, she was one of the highest-paid stars in Hollywood and starred in a series of box-office hits, including Thin Ice (1937), Happy Landing (1938), My Lucky Star (1938), Second Fiddle (1939), and Sun Valley Serenade (1941).
Henie began skating at the age of 5. She enjoyed music and dance from an early age, studying ballet and after starting her competitive skating career, admired the Russian ballet dancer Anna Pavlova after seeing her perform in London.Kestnbaum, p. 106
Henie's unprecedented three Olympic gold medals have not been matched by any ladies' single skater since, nor have her achievements as ten-time consecutive World champion. While Irina Slutskaya of Russia has held the record for most European titles among ladies' skaters since 2006, Henie still retains the record of most consecutive titles, sharing it with Katarina Witt of East Germany/Germany (1983–1988).
Towards the end of her career, she began to be strongly challenged by younger skaters including Cecilia Colledge, Megan Taylor, and Hedy Stenuf. However, she held off these competitors and went on to win her third Olympic title at the 1936 Winter Olympics, albeit in very controversial circumstances with Cecilia Colledge finishing a very close second. Indeed, after the school figures section at the 1936 Olympic competition, Colledge and Henie were virtually neck and neck with Colledge trailing by just a few points. As Sandra Stevenson recounted in The Independent, "the closeness of infuriated Henie, who, when the result for that section was posted on a wall in the competitors' lounge, swiped the piece of paper and tore it into little pieces.
The draw for the free skating then came under suspicion after Henie landed the plum position of skating last, while Colledge had to perform second of the 26 competitors. The early start was seen as a disadvantage, with the audience not yet whipped into a clapping frenzy and the judges known to become freer with their higher marks as the event proceeded. Years later, a fairer, staggered draw was adopted to counteract this situation".
During her competitive career, Henie traveled widely and worked with a variety of foreign coaches. At home in Oslo, she trained at Frogner, where her coaches included Hjørdis Olsen and Oscar Holte. During the latter part of her competitive career she was coached primarily by the American Howard Nicholson in London.
In addition to traveling to train and compete, she was much in demand as a performer at figure skating exhibitions in both Europe and North America. Henie became so popular with the public that police had to be called out for crowd control on her appearances in various disparate cities such as Prague and New York City.
It was an open secret that, in spite of the strict amateur sports requirements of the time, Wilhelm Henie demanded "expense money" for his daughter's skating appearances. Both of Henie's parents had given up their own pursuits in Norway—leaving Leif to run the fur business—in order to accompany Sonja on her travels and act as her managers.
Henie opened up opportunities for figure skaters to use their skills to earn a living. In addition to appearing in Hollywood films, she toured North America with her own professional shows, thus amassing a great deal of personal wealth and by popularizing the ice show, opened up professional skating opportunities for other lesser-known figure skaters.Kestnbaum, p. 75
In 1936, following a successful ice show in Los Angeles orchestrated by her father to launch her film career, Hollywood studio chief Darryl Zanuck signed her to a long-term contract at Twentieth Century Fox, which made her one of the highest-paid actresses of the time. After the success of her first film, One in a Million (1936),Hines, p. xxiv Henie's position was assured and she became increasingly demanding in her business dealings with Zanuck. Henie also insisted on having total control of the skating numbers in her films such as Second Fiddle (1939).
Henie tried to break the musical comedy mould with the anti-Nazi film Everything Happens at Night (1939) and It's a Pleasure (1945), a skating variation of the often-told A Star Is Born tale about alcoholic-star-in-decline-helps-newcomer-up. It was her only film shot in Technicolor, but it was not as huge at the box office as her other films and also proved her limitations as a dramatic actress in her only dramatic film.
When Zanuck realized this, he cast her in more musical comedies; Sun Valley Serenade (1941) with Glenn Miller, John Payne, The Nicholas Brothers, and hit songs such as "In the Mood", "Chattanooga Choo Choo", "It Happened in Sun Valley", and "I Know Why (And So Do You)"; followed by Iceland (1942) with Jack Oakie, Payne, and the hit song "There Will Never Be Another You"; and finally Wintertime (1943) with Cesar Romero, Carole Landis, Cornel Wilde, and Oakie. Sonja had by now developed a comedy flair and these films were all among the top box-office hits for 20th Century-Fox the respective years. Adjusted for 2017 dollars, eight Henie movies crossed the $100 million domestic gross mark. Happy Landing (1938) was her biggest box office hit.
In her film Everything Happens at Night (1939), Ray Milland and Robert Cummings star as rival reporters hot on the trail of Hugo Norden (Maurice Moscovich). Norden, a Nobel Prize winner, was supposedly murdered by the Gestapo, but is rumoured to be in hiding and writing anonymous dispatches advocating world peace. When Geoffrey and Ken track Norden to a small village in the Swiss Alps, they soon find themselves competing over the affections of beautiful Louise (Henie), who has a deeper connection to the missing Nobel laureate than the reporters realize. When Geoffrey and Ken get so distracted by romance that they begin to neglect their assignments, it almost leads to disaster as the Gestapo sets out to silence Norden once and for all. Released on 22 December 1939, it was banned in Nazi Germany.
In addition to her film career at Fox from 1936 to 1943, Henie formed a business arrangement with Arthur Wirtz, who produced her touring ice shows under the name of "Hollywood Ice Revue". Wirtz also acted as Henie's financial advisor. At the time, figure skating and ice shows were not yet an established form of entertainment in the United States. Henie's popularity as a film actress attracted many new fans and instituted skating shows as a popular new entertainment. Throughout the 1940s, Henie and Wirtz produced lavish musical ice skating extravaganzas at Rockefeller Center's Center Theatre attracting millions of ticket buyers.
Henie broke off her arrangement with Wirtz in 1950 and for the next three seasons produced her own tours under the name "Sonja Henie Ice Revue". It was an ill-advised decision to set herself up in competition with Wirtz, whose shows now featured the new Olympic champion Barbara Ann Scott. Since Wirtz controlled the best arenas and dates, Henie was left playing smaller venues and markets already saturated by other touring ice shows such as Ice Capades. The collapse of a section of bleachers during a show in Baltimore, Maryland, in 1952 compounded the tour's legal and financial woes.
In 1953, Henie formed a new partnership with Morris Chalfen to appear in his European Holiday On Ice tour, which proved to be a great success. She produced her own show at New York's Roxy Theatre in January 1956. However, a subsequent South American tour in 1956 was a disaster. Henie was drinking heavily at that time and could no longer keep up with the demands of touring, and this marked her retirement from skating.
She did try to make a film series at her own expense; a series that would serve as a travelogue to several cities. Paris and London were mentioned, but only Hello London (1958) was made with her own backing, co-starring Michael Wilding and special guest star Stanley Holloway. While her ice show numbers were still worth watching, the film received few distributors and poor reviews, ending her film career.
Her autobiography Mitt livs eventyr was published in 1938. An English translation, Wings on My Feet, was released in 1940 and republished in a revised edition in 1954. At the time of her death, the 57-year-old Henie was planning a comeback for a television special that would have aired in January 1970. She was to have danced to "Lara's Theme" from Doctor Zhivago.
Through the years, her shows and later art exhibitions drew the attention of such people as Princess Margaret, Countess of Snowdon and Gustaf VI Adolf of Sweden and she met with them. During the shooting of Second Fiddle (1939), she greeted the then Crown-Prince couple of Norway Olav and Märtha during their US tour.
Controversy appeared first when Henie greeted Hitler with a Nazi salute at the 1936 Winter Olympics in Garmisch-Partenkirchen and after the Games she accepted an invitation to lunch with Hitler at his resort home in Berchtesgaden in far southeastern Bavaria, where Hitler presented Henie with an autographed photo with a lengthy inscription. She was strongly denounced in the Norwegian press for this.
In her revised 1954 biography, she states that no Norwegian judge was in the panel for the 1936 Olympics—as she was entitled to as a Norwegian. She therefore made the best of it and won her third Olympic medal. When she—as a gold medal winner—passed Hitler's tribune with silver medalist Cecilia Colledge and bronze medalist Vivi-Anne Hultén, neither she nor the others honored Hitler with the Nazi salute. The 1936 European Figure Skating Championships also took place in Berlin and neither Henie, Colledge, nor Megan Taylor paid obeisance to Hitler.
Her innovative skating techniques and glamorous demeanor transformed the sport permanently and confirmed its acceptance as a legitimate sport in the Winter Olympics. Figure skating writer and historian Ellyn Kestnbaum credits Henie with transforming figure skating into what she calls "a spectacle of the skater's body" and for "shifting the meanings firmly in the direction of femininity". Kestnbaum argues that Henie influenced female skaters' costumes that emphasized their wealth, especially her fur-trimmed outfits, which were emulated at the 1930 World Championships, held for the first time in North America, in New York City. Henie incorporated dance elements into her figure skating, through the placement of spins, jumps, and choreography to reflect the mood of the music she used.
Kestnbaum argues that although Henie's skating was "athletic and powerful for her day", she added elements,such as using the toepicks of her skates to run or pose on the ice, in movements similar to the use of pointe technique in ballet. Kestnbaum argues that although toe steps are used as "occasional couterpoints to the legato flow of skating movement", Henie might have overused them, calling them "mincing and ineffective".Kestnbaum, p. 107
Also according to Kestnbaum, "Henie's largest contribution to public images of skating" was in her professional ice shows and in her Hollywood films, which were often the first time audiences were exposed to figure skating through the mass media. As a result, the image of the figure skater was linked to "the image of the glamorous movie star", within the conventions of film and stage musicals of the 1930s. Kestnbaum argues that the costumes Henie wore in her shows and films, which were short, revealing, full of and feathers, and more reminiscent of the costumes of female entertainers than of the clothes worn in the more conservative world of competitive figure skating of the time, most likely contributed to the "showiness" that influenced the costume choices of later generations of female competitive figure skaters.
She studied in Oslo together with Martin Stixrud and Erna Andersen who was her competitor and skate club member.
Henie was diagnosed with chronic lymphocytic leukemia in the mid-1960s. She died of the disease at age 57 in 1969 in an ambulance plane flight from Paris to Oslo. She is buried with Onstad in Oslo on the hilltop overlooking the Henie Onstad Art Centre.
Her name and likeness were mentioned and portrayed by an ice skating Donald Duck in Walt Disney's 1939 The Hockey Champ.
Her name and appearance was shown in episode 285 of MASH 4077.
Her animated counterpart appeared in the Disney short, The Autograph Hound when Donald asked for her autograph.
She is mentioned by Ty Webb, Chevy Chase's character in Caddyshack, as a possible but unavailable substitute for Rodney Dangerfield's character (Al Czervik) in the final “golf wager” round before Michael O’Keefe's Danny Noonan is chosen.
"Sonja Henie's tutu!" was a frequent exclamatory utterance by Tom and Ray Magliozzi on the National Public Radio show Car Talk.
Results
Ladies' singles
1st 1st 1st
Pairs
(with Arne Lie)
1st
Awards
Filmography
1927 Seven Days for Elizabeth Skater 1929 Se Norge Herself 1936 One in a Million Greta "Gretchen" Muller 1937 Thin Ice Lili Heiser Ali Baba Goes to Town Herself 1938 Happy Landing Trudy Ericksen My Lucky Star Krista Nielsen 1939 Second Fiddle Trudi Hovland Everything Happens at Night Louise 1941 Sun Valley Serenade Karen Benson 1942 Iceland Katina Jonsdottir 1943 Wintertime Nora 1945 It's a Pleasure Chris Linden 1948 The Countess of Monte Cristo Karen Kirsten 1960 Hello London Herself
Other appearances
In popular culture
Henie was portrayed by Ine Marie Wilmann in the 2018 Anne Sewitsky film Sonja – The White Swan, shown at the 2019 Sundance Film Festival.
Works
Works cited
External links
Categories: 1912 Births, 1969 Deaths, 20th-century American Actresses, 20th-century Norwegian Actresses, American Film Actresses, Deaths From Leukemia, Actresses From Oslo, Medalists At The 1928 Winter Olympics, Medalists At The 1932 Winter Olympics, Medalists At The 1936 Winter Olympics, Norwegian Film Actresses, Norwegian Expatriates In Germany, Norwegian Emigrants To The United States, Norwegian Female Single Skaters, Norwegian Female Pair Skaters, Figure Skaters At The 1924 Winter Olympics, Figure Skaters At The 1928 Winter Olympics, Figure Skaters At The 1932 Winter Olympics, Figure Skaters At The 1936 Winter Olympics, Olympic Gold Medalists For Norway, Olympic Figure Skaters For Norway, Olympic Medalists In Figure Skating, World Figure Skating Championships Medalists, European Figure Skating Championships Medalists, 20th Century Studios Contract Players, Recipients Of The St. Olav's Medal, 20th-century Norwegian Sportswomen
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