After appearing in television commercials for Winston cigarettes and Coca-Cola, Baker was featured in an episode of Monodrama Theater performing a monodramatic piece, which was broadcast in 1952 on the DuMont Network.
The following year, she made her film debut with a small walk-on part in the musical Easy to Love (1953).
This led to her landing roles in two Broadway productions: Roger MacDougall's Escapade in the fall of 1953, and Robert Anderson's All Summer Long, opposite Ed Begley, which ran from September to mid-November 1954.
In 1955, she screen tested and auditioned for the lead role in Picnic, but lost the part to Kim Novak.
She was also considered for the lead in Rebel Without a Cause (1955) after James Dean recommended her for the part to director Nicholas Ray, which she turned down.

Baker's first major screen role was the supporting part of Luz Benedict II in Giant (1956), opposite Elizabeth Taylor, Rock Hudson, and James Dean, in his final role.
According to Baker, she had been offered numerous leading parts in feature films before that point, but chose to debut in a supporting role in Giant because she was "insecure" and "wanted to start out a little less 'profile.'"
Giant was largely filmed in the small town of Marfa, Texas, in 1955; Baker recalled her experience on set, saying that James Dean and she were both enamored of Rock Hudson and Elizabeth Taylor while filming.

Simultaneously, Baker was cast as the title character in Elia Kazan's Baby Doll (1956), a role initially intended for Marilyn Monroe.
Tennessee Williams, who had written and developed the screenplay based on two of his one-act plays, wanted Baker to play the part after seeing her perform a scene from his script at the Actors Studio; likewise, Kazan had been impressed by her performance in All Summer Long on Broadway the year prior.
Shot in Benoit, Mississippi, directly after Baker had completed Giant, her role in the film as a sexually repressed teenaged bride to a failed middle-aged cotton gin owner brought Baker overnight fame and a level of notoriety even before the film's release.
In the fall of 1956, artist Robert Everheart, under contract with Warner Bros., constructed a 135-foot-tall (41 m) billboard in Times Square promoting the film, depicting the now-iconic image of a scantily clad Baker lying in a crib sucking her thumb.
The controversial advertising campaign for the film caused a pre-emptive backlash from religious groups, and on December 16, 1956, Cardinal Francis Spellman of St. Patrick's Cathedral denounced the film and advised his parish against seeing it.
A formal condemnation by the Roman Catholic National Legion of Decency ensued, which considered it "grievously offensive to Christian and traditional standards of morality and decency."

In spite of this, Baby Doll opened to strong box-office receipts, grossing $51,232 in its first week at the Victoria Theater.
In support of Baker, Marilyn Monroe appeared at the film's premiere, working as an usherette to help bolster ticket sales, the proceeds of which were donated to the Actors Studio.
Baker received immense critical praise for her performance.
Variety said that her performance "captures all the animal charm, the naivete, the vanity, contempt and rising passion of Baby Doll," while Bosley Crowther of The New York Times praised Baker's ability to exhibit "a piteously flimsy little twist of juvenile greed, inhibitions, physical yearnings, common crudities and conceits".
Baby Doll established Baker as an A-list actress and would remain the film for which she is best remembered.
She was nominated for an Academy Award for Best Actress for her performance, a Golden Globe for Best Actress, and won a Golden Globe for Most Promising Newcomer, which she shared with Jayne Mansfield and Natalie Wood.
The performance also earned her a Film Achievement Award from Look, as well as the title "Woman of the Year" in 1957 from Harvard University's Hasty Pudding Club.
She appeared on the cover of Life Magazine in June 1956.
After appearing in television commercials for Winston cigarettes and Coca-Cola, Baker was featured in an episode of Monodrama Theater performing a monodramatic piece, which was broadcast in 1952 on the DuMont Network. The following year, she made her film debut with a small walk-on part in the musical Easy to Love (1953). This led to her landing roles in two Broadway productions: Roger MacDougall's Escapade in the fall of 1953, and Robert Anderson's All Summer Long, opposite Ed Begley, which ran from September to mid-November 1954. In 1955, she screen tested and auditioned for the lead role in Picnic, but lost the part to Kim Novak. She was also considered for the lead in Rebel Without a Cause (1955) after James Dean recommended her for the part to director Nicholas Ray, which she turned down.
Baker's first major screen role was the supporting part of Luz Benedict II in Giant (1956), opposite Elizabeth Taylor, Rock Hudson, and James Dean, in his final role. According to Baker, she had been offered numerous leading parts in feature films before that point, but chose to debut in a supporting role in Giant because she was "insecure" and "wanted to start out a little less 'profile.'" Giant was largely filmed in the small town of Marfa, Texas, in 1955; Baker recalled her experience on set, saying that James Dean and she were both enamored of Rock Hudson and Elizabeth Taylor while filming.
Simultaneously, Baker was cast as the title character in Elia Kazan's Baby Doll (1956), a role initially intended for Marilyn Monroe. Tennessee Williams, who had written and developed the screenplay based on two of his one-act plays, wanted Baker to play the part after seeing her perform a scene from his script at the Actors Studio; likewise, Kazan had been impressed by her performance in All Summer Long on Broadway the year prior. Shot in Benoit, Mississippi, directly after Baker had completed Giant, her role in the film as a sexually repressed teenaged bride to a failed middle-aged cotton gin owner brought Baker overnight fame and a level of notoriety even before the film's release. In the fall of 1956, artist Robert Everheart, under contract with Warner Bros., constructed a 135-foot-tall (41 m) billboard in Times Square promoting the film, depicting the now-iconic image of a scantily clad Baker lying in a crib sucking her thumb. The controversial advertising campaign for the film caused a pre-emptive backlash from religious groups, and on December 16, 1956, Cardinal Francis Spellman of St. Patrick's Cathedral denounced the film and advised his parish against seeing it. A formal condemnation by the Roman Catholic National Legion of Decency ensued, which considered it "grievously offensive to Christian and traditional standards of morality and decency."
In spite of this, Baby Doll opened to strong box-office receipts, grossing $51,232 in its first week at the Victoria Theater. In support of Baker, Marilyn Monroe appeared at the film's premiere, working as an usherette to help bolster ticket sales, the proceeds of which were donated to the Actors Studio. Baker received immense critical praise for her performance. Variety said that her performance "captures all the animal charm, the naivete, the vanity, contempt and rising passion of Baby Doll," while Bosley Crowther of The New York Times praised Baker's ability to exhibit "a piteously flimsy little twist of juvenile greed, inhibitions, physical yearnings, common crudities and conceits". Baby Doll established Baker as an A-list actress and would remain the film for which she is best remembered. She was nominated for an Academy Award for Best Actress for her performance, a Golden Globe for Best Actress, and won a Golden Globe for Most Promising Newcomer, which she shared with Jayne Mansfield and Natalie Wood. The performance also earned her a Film Achievement Award from Look, as well as the title "Woman of the Year" in 1957 from Harvard University's Hasty Pudding Club. She appeared on the cover of Life Magazine in June 1956.
Carroll Baker