Dolly Parton through the decades

Six decades and change of reminders that film and TV cameras were just as susceptible to the Queen Of Country's charms as the rest of us.

Dolly Parton through the decades

When Dolly Parton died earlier today, it not only deprived American society of one of the last unqualified things we could all basically agree on—i.e., “Dolly Parton is fantastic.” It also put a capstone on a life and career that could be viewed as a narrative of the entire past eight decades of American entertainment life. Because while Parton’s contributions to the world of music are both massive and obvious, her appeal went far beyond either her songwriting talent or her legendary singing voice: Screens in both the 20th and 21st centuries loved Dolly, from her first appearances on TV in the 1960s, through those made well into the 2020s. Blending beauty queen good looks with natural humility and a sense of humor that was sharp and self-effacing, but never unkind, Parton spent the entirety of her adult life as a fixture on TV, in film, and most especially on the late-night talk circuit, where Dolly could never be mistaken for anybody but Dolly. And so we offer up this look at Dolly through the ages: Six decades and change of reminders that film and TV cameras were just as susceptible to the Queen Of Country’s charms as the rest of us.


1960s: Regional sensation

Debuting on The Porter Wagoner Show (1967)

From an early age, Parton was a fixture on local radio and TV; she appeared on the Grand Ole Opry for the first time in 1959, a 13-year-old singer receiving an on-air introduction from no less than Johnny Cash. But it was the endorsement of a different country legend that would put her in front of a national audience on a regular basis: On September 7, 1967, Parton appeared on The Porter Wagoner Show to perform her first charting single, the cheeky Curly Putman tune “Dumb Blonde,” and fill the role of departing co-star Norma Jean Beasley. “I looked a long time and thought of many, many folks that we all liked and thought that you would like,” Wagoner told his audience of his show’s new cast member. And though that audience was initially resistant to the change—and had no problem voicing it during tapings—the vocal chemistry between Wagoner and Parton would prove undeniable. As would Parton’s magnetic screen presence, which could still be glimpsed through whatever nerves she may have been feeling in that initial 1967 appearance. [Erik Adams]

1970s: Breakout talent

Introducing “Jolene” (1973)

Though it’d be a few years before her solo records started selling anywhere near as well as her duets with Wagoner, Parton’s time on The Porter Wagoner Show coincided with the release of several landmark singles, “Joshua” and “Coat Of Many Colors” among them. And near the end of her run on the show, she’d debut the biggest of them all. “I think this is possibly the most different tune, sort of a different sound of any of the songs you’ve ever written,” Wagoner tells Parton in a clip from 1973. She concurs: “Well, it is kind of different—it kind of makes you think of an old folk song that’s got kind of a heavier, up-to-date beat.” The song, as Wagoner says before exiting the frame, is “Jolene,” and the rising star that was due to take Parton out of Wagoner’s orbit (though not before her decision to leave inspired “I Will Always Love You”) is apparent from the second that familiar fingerpicked guitar lick kicks in. [EA]      

Serenading Johnny Carson (1979)

Her profile on the rise and boosted by the immense crossover success of 1977’s Here You Come Again and its title track, Parton became a more familiar face on a wider variety of programs, her quick wit and ability to give as good as she got making her an especially in-demand talk-show guest. In one memorable Tonight Show appearance, she’d foreshadow Bette Midler’s eventual musical farewell to host Johnny Carson with a bespoke tune all her own. “I’m here about as much as you are,” Parton told the not-exactly-vacation-averse Carson before collapsing with laughter and grabbing a guitar from behind the couch. What followed is classic self-deprecating Dolly (“I have dreamed of stardom since I was just a kid / A million dollar dream beneath this $13 wig”), attributing her “overnight” success to the late-night staple she’d prefer to call by its star’s name: “I went from pop beads to diamonds, from car coats to fur / From K-Mart to Guccis, from here no tellin’ where / From Hillbilly Heaven to a penthouse on the coast / But I never really made it till The Johnny Carson Show.” [EA]

1980s: Blockbuster Dolly

9 To 5 (1980)

Dolly Parton was already a country music legend by the time Hollywood came calling. Her breakout role in 9 To 5 opposite Jane Fonda and Lily Tomlin cemented her appeal beyond the music section. In 9 To 5, Parton played Doralee Rhodes, one of her boss’ three secretaries and the one he sexually harasses the most. Her upbeat character finally takes action when her boss goes too far, hog-tying and blackmailing him into implementing changes to make their company a more equitable workplace with equal pay, a daycare center, and flexible hours. At the time, the Equal Rights Amendment was still gaining momentum as women were entering the workforce in record numbers, and 9 To 5 drew attention to the demands of the movement. Parton led the charge with a spirited performance in one of the decade’s best comedies and a catchy anthem for the movie that’s just as relatable now as it was then. [Monica Castillo]

The Best Little Whorehouse In Texas (1982)

Though Parton herself described the filming of the 1982 musical comedy The Best Little Whorehouse In Texas as a “miserable, spirit-numbing“ experience in her memoir, you’d never know it from her performance onscreen. In just her second film outing, Parton starred as Miss Mona Stagley, the brassy, big-hearted madam in charge of the Chicken Ranch, the titular establishment sent up in the musical’s title and its delightfully loud group number “A Lil’ Ole Bitty Pissant Country Place.” (Fun fact: The Chicken Ranch was a real establishment, but that’s a whole other story.) Though Miss Mona’s wardrobe is as revealing as you might expect for a movie with this title—let’s just say the plunging necklines are gravity-defying—Parton’s performance certainly wasn’t, and she consciously embraced the warmth and humanity of a character who could (and has been) played as something closer to a caricature. Some parts of this film haven’t aged all that well, but it’s still an enjoyable time. (Particularly if you are of a generation that did that aforementioned group number regularly at showtunes night karaoke.) Bonus: Parton reworked “I Will Always Love You” for this film, and while your mileage may vary about whether Burt Reynolds’ character deserves to hear it, it’s lovely. [Lacy Baugher Milas]

Hosting Saturday Night Live (1989)

When Dolly came to host SNL in 1989, she had only two rules for the writers. In Live From New York: The Complete, Uncensored History Of Saturday Night Live, the late Jan Hooks relates that Dolly stated gamely, “Look, okay, here’s the deal. I won’t use any cuss words and I won’t make fun of Jesus.” (Something she’d repeat to Sabrina Carpenter before their 2025 collaboration on Carpenter’s “Please Please Please.”) But true to her word, Parton was up for anything else, including the short sketch, “The Planet Of The Enormous Hooters” (originally written for—and rejected by— Raquel Welch back in 1976) where an alien race of massively endowed alien women (including Hooks) exile her to Earth “where your undersized breasts will go unnoticed, and you may live your life in anonymity.” Another rejected Welch bit saw the monologue cameraman slowly zoom in to show nothing but her famous chest. Dolly was nothing if not in on the joke. [Dennis Perkins]

Steel Magnolias (1989)

“Laughter through tears is my favorite emotion.” That’s just one of the (many) memorable lines (and life lessons) Parton made famous as Steel Magnolias’ Truvy Jones, a role that often felt as much like the singer playing a version of herself as a fictional character. (She’s even got Parton’s signature big hair.) In a story filled with quirky locals and big Southern personalities, Truvy is its beating heart, offering sunny charm, unfailing positivity, and plenty of juicy gossip in a world that sees more than its share of heartbreak. In Truvy’s way of thinking, there is nothing that a hug and a fresh hairstyle can’t fix—“I don’t trust anyone that does their own hair, I don’t think it’s normal” —and her beauty salon is a center of community and support for the women of Chinquapin Parish. If Parton had a real-life day job, I’d like to believe it would have looked a little bit (or a whole lot) like this. [LBM]

1990s: In on the joke 

The Beverly Hillbillies (1993)

As Penelope Spheeris’ 1993 remake of the classic TV sitcom The Beverly Hillbillies reminds us, money ain’t the answer to life’s many problems, but it can make your birthday pretty darn sweet. Newly rich Jed Clampett (Jim Varney, also missed) has scarcely blown out his candles before the sonorous voice of Ms. Parton begins piping into the frame. Spheeris cuts, and there she is, in all her glory: Dolly Parton, as herself, singing “Happy Birthday” for Jed, as everyone in the scene—including Parton’s 9 To 5 co-stars Lily Tomlin and Dabney Coleman—smiles with diamonds in their eyes. “They’ve spent a fortune on me for you,” she sings to Jed, before adding, “And I got a feelin’ you’re worth every dime of it, too.” The happy moment can’t last forever, sadly; Jed, unwittingly smitten with a con artist posing as etiquette teacher Laurette Voleur (Lea Thompson), has proposed marriage, and the film’s story must proceed, even though Spheeris would have been justified in derailing the melodrama to indulge a mini concert featuring Dolly’s million-dollar charms. Still, Spheeris wisely lets Parton play the scene out: As the Clampetts scramble under the weight of Jed’s proposal, she sings her hit “If You Ain’t Got Love,” giving the otherwise lightweight comedy an ironic, sugar-sweet twist as the eponymous family veers their tottering family truck ever closer toward a dramatic cliff. [Jarrod Jones]

2000s and 2010s: Inspiring new generations

Aunt Dolly, Hannah Montana (2006)

Dolly Parton’s three episodes on Hannah Montana as the main character’s “Aunt Dolly” was just another part of her personal connection to the past and future of country music. Miley Cyrus was her real-life goddaughter, and someone Parton supported not only as a child star, but as an adult grappling with her public image. That all started very visibly on Cyrus’ sitcom, which brought Parton and her charming folksy wisdom into the living rooms of a new generation. It also let her sing. Even if that meant also having to hear Billy Ray Cyrus, it was an invaluable continuation of Parton’s legacy as a musical legend, a performer whose charisma was flexible enough to fit into blinding-bright Disney Channel aesthetics, and a parental figure whose own experiences—as a country star, as a woman in the spotlight—could help the next generations. [Jacob Oller]

Duet with Stephen Colbert, The Colbert Report (2012)

Years before she reduced him to tears (in a nice way) on The Late Show, Dolly Parton sang a duet with Stephen Colbert on The Colbert Report. The legendary and incredibly generous performer was promoting her book Dream More: Celebrate The Dreamer In You, in which she extolled the virtues of dreaming, caring, learning, and just being. Instead of being at odds with the vibe of the satirical program, Parton’s earnestness prompted the host to set aside the “Stephen Colbert” persona and gush over the queen of country music. Colbert (or “Colbert”), looking the part of a rhinestone, er, sequined cowboy, then performed “Love Is Like A Butterfly” (off Parton’s 1974 album of the same name) with her, strumming a guitar and harmonizing with his one-time crush. Parton’s effervescence and quick wit no doubt helped her win a new generation of fans that night, proving once again that her appeal was timeless. It’s a shame that the full video isn’t readily available online, but you can enjoy a snippet of it here. [Danette Chavez]

2020s: Short ‘n’ sweet till the end

Performing on Sabrina Carpenter’s “Please Please Please” remix (2025)

There are now multiple generations who have only known Dolly Parton as an elder stateswoman of the entertainment industry, a model for how to poke fun at yourself while maintaining your dignity. She cosigned Beyoncé’s country efforts when gatekeepers tried to keep her out; she performed “Wrecking Ball” with her goddaughter Miley Cyrus. And Dolly hammed it up onscreen with Sabrina Carpenter for a remix of the singer’s hit “Please Please Please.” Parton’s influence on Carpenter’s songwriting is unmistakable: the theatricality, the wit, the glamour, the slight twang even in some of Carpenter’s poppier deliveries. But even as Carpenter was swiftly rising in popularity when the two released their duet—and their music video, which features them outrunning the police with a man tied in the back of their truck—it’s still Parton’s presence that reorients the entire vibe of the track. The country elements are brought to the front, and she even got Carpenter to cut the curse word from her chorus. Even running from the cops, no one would want to disappoint Dolly. [Drew Gillis]

 

 
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