Trixie Delight in 'Paper Moon' (1973)
While 'Paper Moon' earned her a well-deserved Oscar nomination, many casual fans of Kahn's broader comedies may have missed this beautifully layered performance. As Trixie Delight, a Depression-era 'exotic dancer' who latches onto con man Moses Pray,
Kahn does something extraordinary. She takes a character that could have been a simple caricature—the ditzy, conniving floozy—and infuses her with a heartbreaking vulnerability. In a masterful monologue on a hillside, she confesses her fears and failings to the skeptical Addie, revealing the sad reality beneath the bubbly façade. It’s a performance that proves her dramatic instincts were every bit as sharp as her comedic ones.
Jenny Hill in 'The Adventure of Sherlock Holmes’ Smarter Brother' (1975)
This film gave Kahn a chance to shine alongside Gene Wilder and Marty Feldman, free from the Mel Brooks universe. As Jenny Hill, an opera singer with a penchant for pathological lying, Kahn is a force of nature. The role was a perfect vehicle for her unique skill set, allowing her to showcase both her impeccable comedic timing and her legitimate operatic training. Her performance is a whirlwind of seduction, deception, and soaring vocals. It's a delightful and often overlooked gem that demonstrates her ability to be the chaotic, charismatic center of a film all on her own.
Mrs. White in 'Clue' (1985)
Though it's a bona fide cult classic now, 'Clue' was a box office flop on release, meaning many missed Kahn's hysterical performance the first time around. As the black-clad widow Mrs. White, she delivers one of the most iconic and quotable monologues in '80s comedy. Her deadpan description of her hatred for Yvette the maid—culminating in the unforgettable, improvised line about 'flames on the side of my face'—is a masterclass in building from quiet simmering to unhinged rage. In a cast packed with comedic heavyweights, Kahn’s quiet, explosive absurdity makes her an absolute standout.
Gorgeous Teitelbaum in 'The Sisters Rosensweig' (1993)
Film fans might not realize that Kahn was also a titan of the stage, and her performance in Wendy Wasserstein’s play 'The Sisters Rosensweig' is proof. Playing Gorgeous Teitelbaum, a suburban wife and aspiring radio host, Kahn stole the show and won the 1993 Tony Award for Best Actress in a Play. Her acceptance speech was famously heartfelt and funny, as she noted the rare privilege of being recognized for a comedic role. This part wasn't just funny; it was a deeply human portrait of a woman striving to be seen as an individual, not a stereotype—a challenge Kahn navigated with grace and brilliance.
Alice Gold in 'Judy Berlin' (1999)
Kahn’s final film role was in this small, black-and-white independent feature, and it’s arguably her most profound and touching performance. As Alice Gold, a suburban housewife grappling with a sense of loneliness and quiet desperation during a solar eclipse, Kahn is simply mesmerizing. Stripped of the zany characters and broad comedy, she reveals a raw, subtle, and deeply moving side to her talent that many viewers had never seen. It’s a quiet, nuanced performance filled with melancholy and truth, serving as a heartbreaking and beautiful final showcase of the incredible depth she possessed as an actor.
