On a somber night in December 1971, Pete Duel, the charismatic 31-year-old star of Alias Smith and Jones, ended his own life in a shocking act that reverberated through Hollywood and beyond. This article delves into the life and untimely death of Pete Duel, exploring the pressures of fame and the personal struggles that may have contributed to this tragic event. Based on original reports and insights from those who knew him, we uncover the story behind the headlines and examine the complexities of a life lived under the spotlight, using “pete duel” as a key focus to understand his enduring, albeit tragic, legacy.
From Upstate New York to Hollywood Dreams: The Early Life of Pete Duel
Born in a small town near Rochester, New York, Pete Duel, originally Peter Deuel, enjoyed an idyllic childhood alongside his brother Geoffrey. His father, a local doctor, and his mother, a nurse, provided a stable and loving environment, far removed from the glitz and glamour of Hollywood. Neither family background nor early aspirations hinted at a career in acting; Pete initially dreamed of becoming an airline pilot. However, a discovered vision impairment rerouted his ambitions, leading him to St. Lawrence University to pursue liberal arts.
It was during his college years that Pete Duel’s latent interest in acting blossomed. Initially described by his brother Geoffrey as a typical “young college guy raising hell with no idea what he wanted to do,” Pete found an unexpected passion in theater. He participated in university plays, and a pivotal moment came when his parents witnessed his performance in Tennessee Williams’ The Rose Tattoo. Impressed by his son’s talent and recognizing his lack of commitment to traditional studies, Dr. Deuel encouraged Pete to pursue acting professionally, marking a significant turning point in Pete Duel’s life.
Pete Duel took his father’s advice to heart and auditioned for the prestigious American Theater Wing school in New York City. Accepted into the program, he immersed himself in drama studies from 1959 to 1961. The bustling city provided a vibrant backdrop for his burgeoning career, and he gained experience in summer stock, road shows, and Off-Broadway productions. In the spring of 1963, a touring production of a Broadway comedy brought him to California. An actor friend recognized Pete Duel’s potential in Hollywood, suggesting he could thrive in the burgeoning television industry.
Embracing this new opportunity, Pete Duel made the move to Los Angeles in the summer of 1963. To enhance his stage name and appeal, he shortened “Peter” to “Pete” and altered the spelling of his surname from “Deuel” to “Duel.” This marked the beginning of his determined pursuit of Hollywood success, a journey that would ultimately lead to both fame and profound personal challenges for Pete Duel.
The Ascent to Stardom: Pete Duel’s Television Career
Pete Duel’s early years in Hollywood were characterized by relentless auditions and the pursuit of guest roles in various television series. His persistence paid off when he landed a co-starring role in the comedy series Gidget. Although Gidget lasted only a single season, it provided Pete Duel with valuable on-screen experience and industry exposure. This was quickly followed by another year-long stint in the comedy Love on a Rooftop, alongside Laugh-In star Judy Carne, further solidifying his presence in television comedy.
According to his brother Geoffrey, Pete Duel enjoyed working in comedy and demonstrated a natural talent for it. However, the cancellation of Love on a Rooftop in 1967 left him facing the precariousness of an actor’s life – unemployment. Despite the inherent anxieties of the profession, Pete Duel remained grounded and unpretentious. West Coast television writer Charles Parker noted that Pete “never ‘went Hollywood’,” maintaining his down-to-earth persona and preferring denim shirts and faded jeans over typical Hollywood attire.
Pete Duel’s focus remained firmly on his craft, with acting taking precedence over material possessions or fleeting romances. While he had girlfriends, his dedication to acting was unwavering. Money was not his primary concern; he lived modestly, renting a small apartment and driving a simple Japanese jeep. His driving ambition was to work and to hone his acting skills.
A significant turning point in Pete Duel’s career arrived in July 1967 when Universal Studios, a major Hollywood powerhouse, offered him an exclusive seven-year contract. This contract, a dream for many aspiring actors, was accepted by Pete Duel, though it unknowingly set him on a path that would contribute to his later struggles. While seemingly a gateway to success, this contract marked the beginning of a complex chapter in Pete Duel’s life, intertwining professional achievement with increasing personal pressures.
The Double-Edged Sword of Fame: Alias Smith and Jones and Personal Turmoil
Universal Studios’ long-term contract with Pete Duel was a strategic business investment. The studio aimed to cultivate his talent by exposing him to various roles, gauging audience reception, and ultimately positioning him for stardom. This strategy culminated in Pete Duel being offered the co-starring role of “Hannibal Heyes” in the new Western series Alias Smith and Jones in October 1970, alongside Ben Murphy.
Alias Smith and Jones offered a fresh take on the Western genre. It featured Hannibal Heyes and Kid Curry as reformed outlaws attempting to live honest lives and earn a final amnesty. Drawing inspiration from the camaraderie of the Paul Newman-Robert Redford duo in Butch Cassidy and the Sundance Kid, the characters were portrayed as likeable, humorous, and non-violent figures.
Despite the promising premise, Pete Duel initially hesitated to commit to another series, having already declined two previous offers. His preference leaned towards diverse guest roles that offered more artistic depth. However, rejecting Universal’s offer would likely lead to suspension, financial repercussions, and limited work opportunities. As his brother Geoffrey explained, Pete Duel “really had no choice” but to accept the role, highlighting the constraints of studio contracts and the pressures they imposed.
Geoffrey emphasized that his intention was not to criticize the studio system, acknowledging that many actors would eagerly embrace the opportunity of starring in a series. However, for Pete Duel, Alias Smith and Jones, while bringing fame and financial stability, also brought unforeseen personal challenges.
Around the same time he accepted the Alias Smith and Jones role, Pete Duel’s personal struggles intensified. He was arrested for drunk driving after a serious car accident in which he nearly killed two people. This incident brought to light a hidden aspect of Pete Duel’s life: his struggle with alcoholism. Geoffrey confirmed that Pete Duel had a “drink problem,” describing it as an “off-and-on thing,” where periods of sobriety were punctuated by episodes of heavy drinking. He suggested that alcohol exacerbated Pete’s emotional state, amplifying both happiness and, more troublingly, depression, a vulnerability often associated with “romantic and idealist” personalities like Pete Duel.
The demanding nature of Hollywood television production further compounded Pete Duel’s difficulties. Harold Frizzell, his stand-in on Alias Smith and Jones, described the relentless pace of filming, with hour-long episodes shot in just six days and actors expected to deliver seven to eight minutes of usable footage daily. This “mass-production factory” environment, as it was described, clashed with Pete Duel’s artistic sensibilities and contributed to his growing disillusionment with the series.
Despite these pressures, Harold Frizzell painted a picture of Pete Duel as a deeply caring and compassionate individual. He spoke of Pete’s love for people, his kindness, and his simple pleasures like walks in nature and fishing. Pete Duel’s commitment to environmentalism was also evident, as he reportedly refused to use plastic cups on set and advocated for eco-friendly practices. Alias Smith and Jones propelled Pete Duel to international fame, yet paradoxically, he expressed disdain for the show, labeling it “junk” and expressing his desire for its cancellation, revealing a profound disconnect between his public success and private dissatisfaction.
Disillusionment and Despair: The Final Months of Pete Duel’s Life
Egbert Swackhamer, a prominent television director who worked with Pete Duel on multiple occasions, offered a stark assessment of the actor’s inner turmoil. Swackhamer described Pete Duel as a “self-destructive” individual, a trait he had observed in other actors with exceptional natural talent. He characterized Pete Duel as “pure gold” in terms of acting ability but also “self-indulgent” and engaged in “self-abuse,” alluding to struggles with substance abuse and other self-destructive behaviors.
In May 1971, Pete Duel faced legal consequences for his drunk driving arrest. In a letter to the judge, he expressed “shame and terror” regarding his actions and affirmed his basic interest in others, stating he would not knowingly harm anyone. The probation officer spoke in Pete Duel’s defense, and he avoided jail time, receiving a fine, probation, and a driving suspension. Following this incident, Harold Frizzell became Pete Duel’s chauffeur, further highlighting the actor’s dependence and struggles.
Pete Duel’s discontent with Alias Smith and Jones intensified. He confided in Hollywood reporter Cecil Smith in September 1971, calling the series a “big fat drag” and “the ultimate trap” for an actor with artistic aspirations. He lamented the artistic compromise demanded by the show, stating, “You slowly lose any artistic thing you may have. It’s utterly destructive.” This sentiment was echoed by television writer Bernard Slade, who described the “seductive trap” of successful series, offering financial rewards but stifling artistic growth and trapping actors in repetitive roles.
By November 1971, Pete Duel’s bitterness was palpable. He publicly declared, “Contractually, I have to do this series — or some other trash,” revealing his profound sense of being trapped and creatively unfulfilled. These statements foreshadowed the tragic events that were soon to unfold, reflecting a man wrestling with the pressures of fame and a deep yearning for more meaningful work.
The Final Curtain: The Tragic Death of Pete Duel
On Monday, December 27, 1971, Pete Duel began what would be his final week of filming for Alias Smith and Jones. Despite his inner turmoil, he appeared more relaxed that week. His parents were scheduled to arrive from New York on Friday, December 31st, to spend the weekend with him and Geoffrey, and a Christmas tree adorned his living room, presents awaiting their arrival. Director Egbert Swackhamer, who was planning to have dinner with the family that weekend, noted the deep respect and affection Pete and Geoffrey held for their father.
On Thursday, December 30, 1971, after finishing work, Pete Duel invited his girlfriend, Dianne Ray, to his home to watch that evening’s episode of Alias Smith and Jones. Harold Frizzell joined them. According to Harold, Pete Duel expressed his usual dislike for the show, calling it “trash” and criticizing the dialogue before switching to a basketball game. Harold left around halfway through the evening, with Pete Duel appearing sober. “All right, man, see you in the morning,” were Pete’s last words to Harold.
Tragically, in the early hours of the following morning, around 1:30 AM, Dianne Ray contacted the police. Pete Duel was dead. Sergeant Paul Estrada arrived at the scene and found Pete Duel naked in his living room, under the Christmas tree, surrounded by his parents’ presents. A revolver lay beside him. The police report grimly described “cerebral destruction,” confirming suicide by a contact gunshot wound to the head.
Dianne Ray recounted that after Harold Frizzell left, Pete Duel had been drinking heavily. She had gone to bed, and Pete Duel later entered the bedroom naked, retrieved a gun, and stated, “I’ll see you later” before returning to the living room. Moments later, she heard the fatal gunshot. A lie-detector test corroborated Dianne Ray’s account, and authorities concluded suicide.
Sergeant Estrada attributed the suicide to Pete Duel’s intoxication and the pressures of stardom, stating, “I guess there is a lot of pressure on these stars. I don’t know why he wanted out of it — making steady money, and all. I suppose it was the drink.” However, those who knew Pete Duel sensed deeper complexities. His landlady, still haunted by the bloodstain on the carpet, questioned why, despite pressures, Pete Duel chose such a drastic end.
Harold Frizzell remains tormented by the possibility that a missed phone call around 1:00 AM might have been Pete Duel’s cry for help. He recalled Pete Duel often calling late at night for companionship and conversation. This lingering question adds another layer of sadness to the tragedy.
Despite the devastating news, production at Universal Studios continued the day after Pete Duel’s death. Ben Murphy and the crew proceeded with filming Alias Smith and Jones, shooting scenes that did not require Pete Duel. The series was quickly recast, with Roger Davis taking over Pete Duel’s role. Ben Murphy declined to comment publicly on Pete Duel’s death, a silence that speaks volumes about the pressures and protocols of Hollywood.
Bernard Slade offered a chilling perspective, suggesting that suicides often occur in ways that inflict pain on loved ones, as if to destroy both themselves and those they cherish most. Geoffrey Deuel, unable to fully articulate the tragedy, offered a poignant description: “Accidental suicide,” hinting at a confluence of factors and a sense of unintended finality.
Alias Smith and Jones did not survive long after Pete Duel’s death, lasting only seventeen more episodes. Egbert Swackhamer believed Pete Duel was the “real star” and the driving force behind the show’s success. Dianne Ray left Hollywood, seeking a quieter life in Mexico. Harold Frizzell continued working at Universal Studios, forever marked by the loss of his friend.
Charles Parker’s observation that Pete Duel “did not really feel a success” despite his fame, and that he “did not think that what he was doing was worthwhile,” encapsulates the tragedy. Geoffrey Deuel offered a final, poignant reflection: “Pete felt there were other things he wanted to do. Acting was not enough in itself. He wanted to do other things for people that he considered more meaningful — and he wanted to have better parts. Possibly, that was a shame, because he forgot how much happiness he gave to so many people.” The story of Pete Duel serves as a cautionary tale about the pressures of fame, the fragility of dreams, and the enduring mystery of a life tragically cut short.
