Tuesday Weld Net Worth

What Is Tuesday Weld's Net Worth?

Tuesday Weld is a retired American actress who has a net worth of $5 million. Tuesday Weld began working as a child model to help support her family and was already appearing in movies by her early teens. After gaining national attention as Thalia Menninger on "The Many Loves of Dobie Gillis," she developed into one of Hollywood's most distinctive actresses of the 1960s and 1970s, known for playing seemingly innocent young women with complicated, rebellious, or self-destructive inner lives.

Weld's best-known films include "The Cincinnati Kid," "Lord Love a Duck," "Pretty Poison," "Play It as It Lays," "Looking for Mr. Goodbar," "Thief," and "Once Upon a Time in America." She won a Golden Globe as a promising newcomer and later received an Academy Award nomination for "Looking for Mr. Goodbar," an Emmy nomination for "The Winter of Our Discontent," and a BAFTA nomination for "Once Upon a Time in America."

Weld was also famously selective about her career, turning down roles in several films that later became classics, including "Bonnie and Clyde." Rather than chasing conventional movie stardom, she gravitated toward psychologically difficult and often unconventional parts. Her acting appearances became increasingly rare after the 1980s, and she effectively retired following her final film work in 2001.

Real Estate

One of the clearest windows into Weld's finances comes from her real-estate history. In 1990, she and her then-husband, violinist Pinchas Zukerman, reportedly paid approximately $1.8 million for a 1.2-acre oceanfront property in Montauk, New York. The estate included a five-bedroom main house, guest cottage, swimming pool, garage studio, and panoramic Atlantic Ocean views.

Weld listed the property for $9.9 million in 2006. After several years on the market, she sold it in 2009 for $6.75 million. She also reportedly sold an Upper West Side apartment in Manhattan for a little over $1 million around the same time.

After spending time in Colorado, Weld paid just under $1.8 million in 2018 for a private four-bedroom home in the Hollywood Hills. In 2021, she returned to the Montauk market and paid $335,000 for a small one-bedroom condominium at the historic Montauk Manor. Public property records show that she sold that condo in 2025 for $410,000.

Tuesday Weld / Matthew Peyton/Getty Images

Early Life

Tuesday Weld was born Susan Ker Weld on August 27, 1943, in New York City. Her father, Lathrop Motley Weld, came from a prominent New England family but died when Tuesday was three years old. Her mother, Yosene Balfour Ker Weld, was left to support Tuesday and her two older siblings.

Weld began modeling while still a very young child, appearing in advertisements and mail-order catalogs to provide income for the family. What looked from the outside like an unusually successful childhood came at a significant emotional cost. Weld later described the pressure of becoming the family breadwinner as deeply damaging and spoke publicly about suffering a nervous breakdown as a child and attempting suicide by age 12.

Her childhood nickname was "Tu-Tu," reportedly because a young relative could not properly pronounce Susan. The nickname gradually evolved into Tuesday, and in 1959 she legally changed her name to Tuesday Weld.

Child Actress and Early Stardom

Weld began acting professionally during the mid-1950s. Her early movies included the rock-and-roll musical "Rock, Rock, Rock!" and an uncredited appearance in Alfred Hitchcock's "The Wrong Man."

She gained greater attention in movies including "Rally 'Round the Flag, Boys!" and "The Five Pennies." The latter starred Danny Kaye and helped Weld win the 1960 Golden Globe for New Star of the Year – Actress.

Her biggest early television break came as Thalia Menninger on "The Many Loves of Dobie Gillis." Weld played the beautiful, calculating object of Dobie's affection and became one of the most recognizable young performers on television. Although she was principally associated with the show's first season, the role established the teenage Weld nationally.

Elvis Presley and the Teen-Star Years

During the early 1960s, Hollywood frequently cast Weld as precocious teenagers and sexually confident young women. Her films included "Because They're Young," "Return to Peyton Place," "Bachelor Flat," and "The Private Lives of Adam and Eve."

In 1961, she starred opposite Elvis Presley in "Wild in the Country." Weld played Noreen, one of the women involved with Presley's troubled aspiring writer.

The parts strengthened her celebrity but also trapped her in an image that Weld increasingly resisted. She became a fixture of gossip columns, which often focused as heavily on her private life as on her performances.

"The Cincinnati Kid" and "Lord Love a Duck"

Weld's transition into more mature work became especially clear in 1965's "The Cincinnati Kid." She starred opposite Steve McQueen as Christian, the girlfriend of McQueen's ambitious poker player.

The following year, Weld starred in the dark satire "Lord Love a Duck." Although the movie was not a major commercial hit, her performance as Barbara Ann Greene, an ambitious and manipulative high school student, became representative of the offbeat roles that increasingly interested her.

Rather than pursue straightforward glamorous leading-lady parts, Weld repeatedly gravitated toward characters who were unstable, morally ambiguous, alienated, or difficult to categorize. That choice limited her mainstream box-office career but helped build a devoted critical following.

"Pretty Poison"

One of Weld's most acclaimed performances came in 1968's "Pretty Poison" opposite Anthony Perkins. Perkins played a psychologically troubled young man who convinces Weld's character that he is a secret agent, only to discover that she is far more dangerous than he is.

Weld's performance mixed teenage sweetness with startling amorality. The film was not a large theatrical success, but its reputation grew substantially over time and it became a cult favorite.

By this stage, Weld had also become famous for declining major projects. Among the roles she reportedly rejected were parts in "Bonnie and Clyde," "Rosemary's Baby," "True Grit," "Cactus Flower," and "Bob & Carol & Ted & Alice." Weld later joked that she had avoided some projects precisely because they seemed destined to become successful.

"Play It as It Lays"

Weld starred in the 1972 adaptation of Joan Didion's "Play It as It Lays," again opposite Anthony Perkins. She played Maria Wyeth, an emotionally detached actress drifting through Hollywood while confronting a failed marriage, career dissatisfaction, and personal trauma.

The role provided Weld with one of the most demanding parts of her career. Her performance earned a Golden Globe nomination for Best Actress in a Motion Picture – Drama and reinforced the growing critical reassessment of an actress who had once been dismissed primarily as a teenage sex symbol.

Other films from this period included "I Walk the Line" opposite Gregory Peck and "A Safe Place," featuring Jack Nicholson and Orson Welles.

"Looking for Mr. Goodbar"

Weld received her only Academy Award nomination for the 1977 drama "Looking for Mr. Goodbar."

The movie starred Diane Keaton as Theresa Dunn, a teacher whose nightlife brings her into increasingly dangerous relationships. Weld played Theresa's older sister Katherine, whose apparently conventional life conceals significant personal turmoil.

Although Weld's screen time was relatively limited, the role gave her an opportunity to compress a complicated personal history into a supporting performance. She was nominated for the Academy Award for Best Supporting Actress.

"Thief" and "Once Upon a Time in America"

Weld worked with director Michael Mann on his 1981 feature-film debut "Thief," playing Jessie, the partner of James Caan's professional safecracker. The movie later developed a substantial reputation as one of the defining crime films of the early 1980s.

Three years later, Weld appeared in Sergio Leone's epic "Once Upon a Time in America" alongside Robert De Niro and James Woods. She played Carol, a character connected to the gang at the center of Leone's decades-spanning crime story.

Her performance earned a BAFTA nomination for Best Supporting Actress. Around the same period, Weld also received an Emmy nomination for the television adaptation of John Steinbeck's "The Winter of Our Discontent."

Later Career

Weld's acting schedule slowed considerably during the late 1980s and 1990s. She appeared in "Heartbreak Hotel" and later played the mother of Michael Douglas' character in the 1993 drama "Falling Down."

She subsequently appeared in "Feeling Minnesota," starring Keanu Reeves and Cameron Diaz, and took roles in smaller independent productions. Her final screen credits came in 2001 with "Investigating Sex" and Ethan Hawke's "Chelsea Walls."

Rather than formally announcing a retirement campaign or farewell project, Weld simply stopped acting and largely withdrew from public life. Her relative absence has only strengthened the mystique surrounding a career that was never organized around conventional Hollywood ambition.

Personal Life

Weld married screenwriter Claude Harz in 1965, and they had a daughter, Natasha. The marriage ended in divorce in 1971.

In 1975, Weld married English actor and comedian Dudley Moore. Their son, Patrick, was born during the marriage, which ended in divorce in 1980.

Weld married violinist and conductor Pinchas Zukerman in 1985. They remained together until separating in the late 1990s and finalized their divorce in 2001.

Between marriages, Weld was linked romantically to several prominent figures, including Al Pacino, Mikhail Baryshnikov, Richard Gere, and Ryan O'Neal. She has spent the later decades of her life largely outside the Hollywood publicity machine that surrounded her from childhood.

Awards and Legacy

Weld won the 1960 Golden Globe for New Star of the Year – Actress and later received another Golden Globe nomination for "Play It as It Lays." She earned an Academy Award nomination for "Looking for Mr. Goodbar," an Emmy nomination for "The Winter of Our Discontent," and a BAFTA nomination for "Once Upon a Time in America."

Her career is also notable for the number of conventional star-making opportunities she rejected. Rather than maximizing commercial fame, Weld built a résumé filled with flawed, unpredictable, and psychologically complex characters.

That approach helped turn her into a cult figure whose reputation grew even as her appearances became less frequent. Films including "Pretty Poison," "Play It as It Lays," "Thief," and "Once Upon a Time in America" continue to distinguish Weld as one of the more unconventional American actresses to emerge from the studio era.

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