The Best Actors Ever - 1920s
Points from my "The Best Films Ever Made"-Lists. Only Actors in films from 1920s. Vol. 1 = 100%, Vol. 2 = 50%, Vol. 3 = 33%, Vol. 4 = 25%, Vol. 5 = 20 %, Vol. 6 = 17%
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Joseph Frank Keaton was born on October 4, 1895 in Piqua, Kansas, to Joe Keaton and Myra Keaton. Joe and Myra were Vaudevillian comedians with a popular, ever-changing variety act, giving Keaton an eclectic and interesting upbringing. In the earliest days on stage, they traveled with a medicine show that included family friend, illusionist Harry Houdini. Keaton himself verified the origin of his nickname "Buster", given to him by Houdini, when at the age of three, fell down a flight of stairs and was picked up and dusted off by Houdini, who said to Keaton's father Joe, also nearby, that the fall was 'a buster'. Savvy showman Joe Keaton liked the nickname, which has stuck for more than 100 years.
At the age of four, Keaton had already begun acting with his parents on the stage. Their act soon gained the reputation as one of the roughest in the country, for their wild, physical antics on stage. It was normal for Joe to throw Buster around the stage, participate in elaborate, dangerous stunts to the reverie of audiences. After several years on the Vaudeville circuit, "The Three Keatons", toured until Keaton had to break up the act due to his father's increasing alcohol dependence, making him a show business veteran by the age of 21.
While in New York looking for work, a chance run-in with the wildly successful film star and director Roscoe 'Fatty' Arbuckle, resulted in Arbuckle inviting him to be in his upcoming short The Butcher Boy (1917), an appearance that launched Keaton's film career, and spawned a friendship that lasted until Arbuckle's sudden death in 1933. By 1920, after making several successful shorts together, Arbuckle moved on to features, and Keaton inherited his studio, allowing him the opportunity to begin producing his own films. By September 1921, tragedy touched Arbuckle's life by way of a scandal, where he was tried three times for the murder of Virginia Rapp. Although he was not guilty of the charges, and never convicted, he was unable to regain his status, and the viewing public would no longer tolerate his presence in film. Keaton stood by his friend and mentor through out the incident, supporting him financially, finding him directorial work, even risking his own budding reputation offering to testify on Arbuckle's behalf.
In 1921, Keaton also married his first wife, Natalie Talmadge under unusual circumstance that have never been fully clarified. Popular conjecture states that he was encouraged by Joseph M. Schenck to marry into the powerful Talmadge dynasty, that he himself was already a part of. The union bore Keaton two sons. Keaton's independent shorts soon became too limiting for the growing star, and after a string of popular films like One Week (1920), The Boat (1921) and Cops (1922), Keaton made the transition into feature films. His first feature, Three Ages (1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization.
At the height of his popularity, he was making two features a year, and followed Ages with Our Hospitality (1923), The Navigator (1924) and The General (1926), the latter two he regarded as his best films. The most renowned of Keaton's comedies is Sherlock Jr. (1924), which used cutting edge special effects that received mixed reviews as critics and audiences alike had never seen anything like it, and did not know what to make of it. Modern day film scholars liken the story and effects to Christopher Nolan Inception (2010), for its high level concept and ground-breaking execution. Keaton's Civil War epic The General (1926) kept up his momentum when he gave audiences the biggest and most expensive sequence ever seen in film at the time. At its climax, a bridge collapses while a train is passing over it, sending the train into a river. This wowed audiences, but did little for its long-term financial success. Audiences did not respond well to the film, disliking the higher level of drama over comedy, and the main character being a Confederate soldier.
After a few more silent features, including College (1927) and Steamboat Bill, Jr. (1928), Keaton was informed that his contract had been sold to MGM, by brother-in-law and producer Joseph M. Schenck. Keaton regarded the incident as the worst professional mistake he ever made, as it sent his career, legacy, and personal life into a vicious downward spiral for many years. His first film with MGM was The Cameraman (1928), which is regarded as one of his best silent comedies, but the release signified the loss of control Keaton would incur, never again regaining his film -making independence. He made one more silent film at MGM entitled Spite Marriage (1929) before the sound era arrived.
His first appearance in a film with sound was with the ensemble piece The Hollywood Revue of 1929 (1929), though despite the popularity of it and his previous MGM silents, MGM never allowed Keaton his own production unit, and increasingly reduced his creative control over his films. By 1932, his marriage to Natalie Talmadge had dissolved when she sued him for divorce, and in an effort to placate her, put up little resistance. This resulted in the loss of the home he had built for his family nicknamed "The Italian Villa", the bulk of his assets, and contact with his children. Natalie changed their last names from Keaton to Talmadge, and they were disallowed from speaking about their father or seeing him. About 10 years later, when they became of age, they rekindled the relationship with Keaton. His hardships in his professional and private life that had been slowly taking their toll, begun to culminate by the early 1930s resulting in his own dependence on alcohol, and sometimes violent and erratic behavior. Depressed, penniless, and out of control, he was fired by MGM by 1933, and became a full-fledged alcoholic.
After spending time in hospitals to attempt and treat his alcoholism, he met second wife Mae Scrivens, a nurse, and married her hastily in Mexico, only to end in divorce by 1935. After his firing, he made several low-budget shorts for Educational Pictures, and spent the next several years of his life fading out of public favor, and finding work where he could. His career was slightly reinvigorated when he produced the short Grand Slam Opera (1936), which many of his fans admire for giving such a good performance during the most difficult and unmanageable years of his life.
In 1940, he met and married his third wife Eleanor Norris, who was deeply devoted to him, and remained his constant companion and partner until Keaton's death. After several more years of hardship working as an uncredited, underpaid gag man for comedians such as the Marx Brothers, he was consulted on how to do a realistic and comedic fall for In the Good Old Summertime (1949) in which an expensive violin is destroyed. Finding no one who could do this better than him, he was given a minor role in the film. His presence reignited interest in his silent films, which lead to interviews, television appearances, film roles, and world tours that kept him busy for the rest of his life.
After several more film, television, and stage appearances through the 1960s, he wrote the autobiography "My Wonderful World of Slapstick", having completed nearly 150 films in the span of his ground-breaking career. His last film appearance was A Funny Thing Happened on the Way to the Forum (1966) which premiered seven months after Keaton's death from the rapid onset of lung cancer. Since his death, Keaton's legacy is being discovered by new generations of viewers every day, many of his films are available on YouTube, DVD and Blu-ray, where he, like all gold-gilded and beloved entertainers can live forever.5628 points- Actor
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- Director
John Gilbert was born into a show-business family - his father was a comic with the Pringle Stock Company. By 1915 John was an extra with Thomas H. Ince's company and a lead player by 1917. In those days he was assistant director, actor or screenwriter. He also tried his hand at directing. By 1919 he was being noticed in films and getting better roles. In 1921 he signed a three-year contract with Fox Films. His popularity continued to soar and he was turning from villain to leading man. In 1924 he signed with MGM which put him into His Hour (1924). In 1925 he appeared in the very successful The Big Parade (1925) and was, by now, as popular as Rudolph Valentino. Lillian Gish, who had a new contract with MGM, picked Gilbert to co-star with her in La Bohème (1926). With the death of Valentino, his only competition, John was on top of the world. Then came Greta Garbo, who starred with him in Love (1927), Flesh and the Devil (1926) and A Woman of Affairs (1928). The screen chemistry between these two was incredible and led to a torrid off-screen affair. The studio publicity department worked overtime to publicize the romance between the two, but when it came time to marry, John was left at the altar. His performances after that were devoid of the sparkle that he once had and he began to drink heavily. Added to that, the whole industry was moving towards sound, and while his voice was not as bad as some had thought, it did not match the image that he portrayed on the screen. Even his characters had changed, in such films as Redemption (1930) and Way for a Sailor (1930). He was no longer the person that bad things happened to, but he now was the cause of bad things which happen. MGM did little to help John adjust to the new sound medium, as studio chief Louis B. Mayer and Gilbert had a fierce and nasty confrontation over Garbo. John was still under contract to MGM for a very large salary, but the money meant little to him. His contract ran out in 1933 after he appeared in Fast Workers (1933) as a riveter.
Garbo tried to restore some of his image when she insisted that he play opposite her in Queen Christina (1933), but by then it was too late. He appeared in only one more film and died of a heart attack in January 1936.3413 points- Actor
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- Writer
Although his parents were deaf, Leonidas Chaney became an actor and also owner of a theatre company (together with his brother John). He made his debut at the movies in 1912, and his filmography is vast. Lon Chaney was especially famous for his horror parts in movies like e.g. Quasimodo in The Hunchback of Notre Dame (1923). Due to his special make-up effects he carried the characterization to be "the man with the thousand faces." He only filmed one movie with sound: The remake of one of his earlier films The Unholy Three (1930). His son, Lon Chaney Jr., became a famous actor of the horror genre.3133 points- Writer
- Actor
- Director
Considered to be one of the most pivotal stars of the early days of Hollywood, Charlie Chaplin lived an interesting life both in his films and behind the camera. He is most recognized as an icon of the silent film era, often associated with his popular character, the Little Tramp; the man with the toothbrush mustache, bowler hat, bamboo cane, and a funny walk.
Charles Spencer Chaplin was born in Walworth, London, England on April 16, 1889, to Hannah Harriet Pedlingham (Hill) and Charles Chaplin, both music hall performers, who were married on June 22, 1885. After Charles Sr. separated from Hannah to perform in New York City, Hannah then tried to resurrect her stage career. Unfortunately, her singing voice had a tendency to break at unexpected moments. When this happened, the stage manager spotted young Charlie standing in the wings and led him on stage, where five-year-old Charlie began to sing a popular tune. Charlie and his half-brother, Syd Chaplin spent their lives in and out of charity homes and workhouses between their mother's bouts of insanity. Hannah was committed to Cane Hill Asylum in May 1903 and lived there until 1921, when Chaplin moved her to California.
Chaplin began his official acting career at the age of eight, touring with the Eight Lancashire Lads. At age 18, he began touring with Fred Karno's vaudeville troupe, joining them on the troupe's 1910 United States tour. He traveled west to California in December 1913 and signed on with Keystone Studios' popular comedy director Mack Sennett, who had seen Chaplin perform on stage in New York. Charlie soon wrote his brother Syd, asking him to become his manager. While at Keystone, Chaplin appeared in and directed 35 films, starring as the Little Tramp in nearly all.
In November 1914, he left Keystone and signed on at Essanay, where he made 15 films. In 1916, he signed on at Mutual and made 12 films. In June 1917, Chaplin signed up with First National Studios, after which he built Chaplin Studios. In 1919, he and Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists (UA).
Chaplin's life and career was full of scandal and controversy. His first big scandal was during World War I, at which time his loyalty to England, his home country, was questioned. He had never applied for American citizenship, but claimed that he was a "paying visitor" to the United States. Many British citizens called Chaplin a coward and a slacker. This and other career eccentricities sparked suspicion with FBI chief J. Edgar Hoover and the House Un-American Activities Committee (HUAC), who believed that he was injecting Communist propaganda into his films. Chaplin's later film The Great Dictator (1940), which was his first "talkie", also created a stir. In the film, Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, the film grossed over $5 million and earned five Academy Award Nominations.
Another scandal occurred when Chaplin briefly dated 22 year-old Joan Barry. However, Chaplin's relationship with Barry came to an end in 1942, after a series of harassing actions from her. In May 1943, Barry returned to inform Chaplin that she was pregnant and filed a paternity suit, claiming that the unborn child was his. During the 1944 trial, blood tests proved that Chaplin was not the father, but at the time, blood tests were inadmissible evidence, and he was ordered to pay $75 a week until the child turned 21.
Chaplin also was scrutinized for his support in aiding the Russian struggle against the invading Nazis during World War II, and the United States government questioned his moral and political views, suspecting him of having Communist ties. For this reason, HUAC subpoenaed him in 1947. However, HUAC finally decided that it was no longer necessary for him to appear for testimony. Conversely, when Chaplin and his family traveled to London for the premier of Limelight (1952), he was denied re-entry to the United States. In reality, the government had almost no evidence to prove that he was a threat to national security. Instead, he and his wife decided to settle in Switzerland.
Chaplin was married four times and had a total of 11 children. In 1918, he married Mildred Harris and they had a son together, Norman Spencer Chaplin, who lived only three days. Chaplin and Harris divorced in 1920. He married Lita Grey in 1924, who had two sons, Charles Chaplin Jr. and Sydney Chaplin. They were divorced in 1927. In 1936, Chaplin married Paulette Goddard, and his final marriage was to Oona O'Neill (Oona Chaplin), daughter of playwright Eugene O'Neill in 1943. Oona gave birth to eight children: Geraldine Chaplin, Michael Chaplin, Josephine Chaplin, Victoria Chaplin, Eugene Chaplin, Jane Chaplin, Annette-Emilie Chaplin, and Christopher Chaplin.
In contrast to many of his boisterous characters, Chaplin was a quiet man who kept to himself a great deal. He also had an "un-millionaire" way of living. Even after he had accumulated millions, he continued to live in shabby accommodations. In 1921, Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1972, he was honored with an Academy Award for his "incalculable effect in making motion pictures the art form of the century". He was appointed Knight Commander of the Order of the British Empire in the 1975 New Year's Honours List. No formal reason for the honour was listed. The citation simply reads "Charles Spencer Chaplin, Film Actor and Producer".
Chaplin's other works included musical scores that he composed for many of his films. He also authored two autobiographical books, "My Autobiography" (1964) and its companion volume, "My Life in Pictures" (1974).
Chaplin died at age 88 of natural causes on December 25, 1977 at his home in Vevey, Switzerland. His funeral was a small and private Anglican ceremony according to his wishes. In 1978, Chaplin's corpse was stolen from its grave and was not recovered for three months; he was re-buried in a vault surrounded by cement.
Six of Chaplin's films have been selected for preservation in the National Film Registry by the United States Library of Congress: The Immigrant (1917), The Kid (1921), The Gold Rush (1925), City Lights (1931), Modern Times (1936), and The Great Dictator (1940).
Charlie Chaplin is considered one of the greatest filmmakers in the history of American cinema, whose movies were and still are popular throughout the world and have even gained notoriety as time progresses. His films show, through the Little Tramp's positive outlook on life in a world full of chaos, that the human spirit has and always will remain the same.2714 points- Actor
- Producer
- Director
Born in Burchard, Nebraska, USA to Elizabeth Fraser and J. Darcie 'Foxy' Lloyd who fought constantly and soon divorced (at the time a rare event), Harold Clayton Lloyd was nominally educated in Denver and San Diego high schools and received his stage training at the School of Dramatic Art (San Diego). Lloyd grew up far more attached to his footloose, chronically unemployed father than his overbearing mother.
He made his stage debut at age 12 as "Little Abe" in "Tess of d'Ubervilles" with the Burwood Stock company of Omaha. Harold and his father moved to California as a result of a fortuitous accident settlement in 1913. Foxy bought a pool hall (that soon failed) while Harold attended high school. The pair were soon broke when his father suggested he try out for a job on a movie being shot at San Diego's Pan American Exposition by the Edison Company. On the set he first met Hal Roach who would be the most influential person in his professional life. Roach (admittedly a poor actor) told Lloyd that someday he'd be a movie producer and he'd make him his star.
Soon afterward, Roach inherited enough money to begin a small production company (Phun Philms, quickly renamed Rolin, with a partner who he soon bought out) and contacted Lloyd to star in the kinds of films he wanted to make: comedies. On the basis of a handful of self-produced shorts starring Lloyd, he managed to land a production contract with the U.S. branch of the French firm, Pathe, who literally paid Roach by the exposed foot of film on what films were accepted. Things were touch and go in the beginning, with improvised scenarios, outdoor shoots meaning Pathe rejected several of their first efforts, resulting in missed paydays. During his first contract with Roach he appeared in "Will E. Work" and then "Lonesome Luke" comedies, essentially cheap variations of Charles Chaplin's Little Tramp character. He abandoned the character in disgust in late 1917, adopting his "glasses" persona, an average young man capable of conquering any obstacle thrown at him. He began cementing his new image with Over the Fence (1917), that ushered in a prolific number of shorts through late 1921, often releasing 3 per month. In his "glasses" personification, Lloyd's popularity grew exponentially with each new release, but Lloyd rapidly grew dissatisfied with his relationship with his producer. Roach and Lloyd fought constantly; it's not so much that he didn't want to work for Roach, he didn't want to work for anyone - a trait he himself recognized from early on. To be fair, Roach was increasingly preoccupied with other stars (The "Our Gang" series was launched to huge success in 1922 and he also produced ''Snub Pollard" shorts, among others) and although he would always resent Lloyd's attitude and ultimate defection to Paramount, the loss of his major star wouldn't financially cripple him. Lloyd had his own quirks; he fell in love with his first co-star Bebe Daniels, who left him after it became apparent he was unable to make a commitment (however the two would remain lifelong friends). Lloyd, in his own way was decidedly complex: he could be professionally generous (often allowing debatably deserving directorial credit to members of his crew) while being notoriously cheap. Yet he practiced little financial self control in anything that concerned himself. Wildly superstitious, he engaged in strict rituals about dressing himself, leaving through the same doors as he entered, and expected his chauffeurs to know which streets were unlucky to traverse. As his finances improved with age he happily indulged himself with a myriad of hobbies that would include breeding Great Danes, amassing cars, bowling, photography, womanizing, and high-fidelity stereo systems. He was open minded about homosexuals while being practically Victorian in his ideas about raising his daughters. He had an enormous libido and rumors abounded about illegitimate children and according to Roach, chronic bouts with VD. Most traumatically, he suffered the loss of his right thumb and forefinger in an accidental prop bomb explosion on August 14, 1919, just as his career was starting to take off. Lloyd would go to great lengths to hide his disability, spending thousands on flesh-colored prosthetic gloves and hiding his right hand whenever knowingly photographed, even long after his career ended. Upon his recovery he completed work on Haunted Spooks (1920) and successfully renegotiated his contract with Pathe, which began a career ascent that would rival Chaplin's (indeed, Lloyd was more successful, considering grosses on total output as Chaplin's output soon dwindled by comparison). Lloyd began feature film production with the 4-reel A Sailor-Made Man (1921). It began as a 2-reel short but contained, in his words, "so much good stuff we were loathe to take any of it out." It became a huge hit and continued to release hit features with ever increasing grosses but split with Hal Roach (who retained lucrative re-issue rights to his earlier films) after completing The Freshman (1925), one of his finest films. Pathe's U.S. operations quickly unraveled after their U.S. representative, Paul Brunet returned to France, and Lloyd made a decisive move (Roach himself would also leave Pathe, opting for a distribution deal with MGM - Mack Sennett, also distributed by Pathe, would be financially ruined). After weighing various attractive offers, Lloyd signed an advantageous contract with Paramount and racked up another hit with For Heaven's Sake (1926), one of his weakest silent features, yet it grossed an incredible $2.591 million, nearly equaling "The Freshman" and astonishing even himself.
Lloyd could do no wrong throughout the 1920s, he consistently earned at or near $1.5 million per film with his Paramount contract, and seemed invincible. He married his second co-star Mildred Davis on February 10, 1923 and she retired from acting (replaced by Jobyna Ralston). He built a huge 32-room mansion he christened, "Greenacres" that took over 3 years to complete and the couple eventually had 3 children. His final silent film, Speedy (1928), shot on location in New York, was one of the few major hits of the sound transition period and remains (as do most of Lloyd's films) thoroughly enjoyable today. The advent of sound proved problematic for the comedian. His films were gag-driven and his writing team was wholly unaccustomed to converting their type of comedy into dialog. While his first sound effort (began as a silent), Welcome Danger (1929) grossed nearly $3 million, by any standard it's a bad film, and marked a serious decline in Lloyd's screen persona; he became a talking comedian. Ironically, as bad as the film is, it would prove to be the last solid hit of his career. His next talkie, Feet First (1930), included a climb reminiscent (but technically superior to that) of his hit Safety Last! (1923), only being in sound, it contained every grunt and groan and proved painful to watch. With a gross of less that $1 million, Lloyd would see slightly over $300,000, his smallest feature paycheck to date, and it became clear he was in trouble. Lloyd fought back with Movie Crazy (1932). Generally regarded as his finest talkie, it grossed even less than "Feet First." Lloyd left Paramount for Fox and suffered his first outright flop with his next feature, The Cat's-Paw (1934), which grossed $693,000 against a negative cost of $617,000 ---resulting in red ink on a net basis. The miracle Harold Lloyd needed to salvage his career would never happen, but he refused to go down without a fight. Amazingly, the public was oblivious to his decline, and he was widely considered as one of the few silent comedy stars to have made a successful transition through the first decade of sound. But to those within the industry, the numbers didn't add up. Back at Paramount on a 2-movie deal, Lloyd starred in The Milky Way (1936), a better-than-average comedy that pulled a world-wide gross of $1.179 million, but it had production budget exceeding $1 million, resulting in a $250,000 loss for the studio. Paramount was livid, demanding a personal guarantee from Lloyd on anything over $600,000 for his next film, Professor Beware (1938). The comedian soon discovered he couldn't complete the film within the required budget and did something unprecedented --for him at least-- he invested his own money. The final production cost was $820,275 - and it grossed a mere $796,385 - and as a result of a complex payment deal, Lloyd ended up personally losing $119,400 on its initial release (he would eventually recoup the bulk of his losses over the next 35 years). At the relatively young age of 45, Harold Lloyd's Hollywood career was effectively over. Still immensely wealthy from a conservative investment strategy, and always hyperactive, he sought out ways to occupy his time, dragging his kids on marathon movie nights all across Los Angeles and falling back on his many hobbies. Foxy, who had handled the bulk of his correspondence (almost all Lloyd's pre-1938 autographs were actually signed by Foxy) and had carefully documented his press clippings since his acting career had began, retired to Palm Springs in 1938, leaving a void in Lloyd's life. He produced two pictures for RKO, A Girl, a Guy, and a Gob (1941), and a Kay Kyser vehicle, My Favorite Spy (1942) which must have looked good on paper but went nowhere at the box office. This ended his career as a producer. He would sign a $25,000 deal with Columbia in 1943 for a comeback project that never materialized. In 1944, Lloyd was approached by director Preston Sturges who envisioned a first-rate vehicle for him entitled, The Sin of Harold Diddlebock (1947). The production launched Sturges' new California Pictures, was financed by Howard Hughes, and initially released by United Artists. It proved to be a nightmare for everyone concerned. Its $1.7 million production cost proved to be an insurmountable obstacle preventing it from profitability and the eccentric Hughes withdrew it from circulation, later retitling it "Mad Wednesday," re-editing and re-releasing it as an RKO feature in 1951 to an even more dismal box office. Lloyd would also zealously protect ownership of his material and was quite litigious. He successfully sued MGM over their unauthorized poaching of his gags on a Joan Davis vehicle, She Gets Her Man (1945) (sadly an action that put the final nail in the professional coffin of the hopelessly alcoholic Clyde Bruckman). With his career at an end, Harold renewed his interest in photography and became involved with color film experiments. Some of the earliest 2 color Technicolor tests had been shot at Greenacres in 1929. In the late 1940s he became fascinated with color 3D still photography and often visited friends on film sets. Throughout the late 40s and well into the 1960s Lloyd indulged himself with glamor models. At his death, his collection of 3D stills numbered 250,000 (the vast majority of which are nudes). Recently his granddaughter published an elaborate book of photos carefully excised from the collection. In the late 1940s Lloyd became an active member of the Shriners (he'd joined originally in 1924) and an effective administrator for their Los Angeles crippled children's hospital. Harold is reported to be the only actor that owned most of the films he appeared in (sadly many of the earliest ones were destroyed in a nitrate fire in a vault at Greenacres in 1943). This ownership gave him the ability to withhold his films from being shown on television; Lloyd feared incorrect projection speed and commercials would damage his reputation. As a result, a generation of film fans saw very few of his films and his reputation was diminished. He did release 2 compilation films, of which the first, World of Comedy (1962) was very successful. Mildred descended into alcoholism in the 1950s and died in 1969. Lloyd occupied his time with extensive travel (he thoroughly enjoyed speaking engagements where he could interact with students on the subject of silent film) and continued his pathological passion for his hobbies through the end of his life. He became interested in high fidelity stereo systems and habitually ordered several record companies' entire annual catalogs, eventually amassing an LP collection rivaling most record stores. He enjoyed cranking music to volumes that caused the inlaid gold leaf on Greenacres' ceilings to rain down on anyone below. Conversely, he balked at modernizing anything inside the mansion, seeing improvements and redecorating as things that would survive him, and thus a complete waste of money. Lloyd was diagnosed with a recurrence of cancer by his brother-in-law, Dr. John Davis (Jack Davis, who starred in early "Our Gang" shorts) and died on March 8, 1971. His son, Harold Lloyd Jr. was an alcoholic homosexual and died soon afterward. Although Lloyd left an estate valued at $12 million (in 1971 dollars), he failed to make a provision for the maintenance of Greenacres, a blunder that would seriously complicate his estate. His granddaughter Suzanne Lloyd has been largely responsible for restoring his reputation of late, working to preserve his surviving films; many have been issued on HBO Video, Thames Video. Several have been superbly restored with new musical accompaniments and are shown periodically on TCM.2635 points- Actor
- Producer
- Art Department
His real name was Theodor Friedrich Emil Janenz, and in the early 1900s, he was already working in the theater under Max Reinhardt's company. Important movies where he defined himself as a convincing actor were Passion (1919) and Quo Vadis? (1924), followed by The Last Laugh (1924) (aka The Last Laugh) in 1924 and Variety (1925) (aka Variety) in 1925. In 1928, he became the first male leading actor to receive the academy award for The Last Command (1928) directed by Josef von Sternberg. In 1929, Stenberg directed him in his world famous movie The Blue Angel (1930) (aka The Blue Angel) co-starring the young Marlene Dietrich (her first role). Later on, he concentrated on theater and dedicated his acting skills to the Nazi regime and also took part in the realization of Ohm Krüger (1941) in 1941, an expensive anti-British film production. When the Second World War ended, the US government cleaned his image, and he converted to Catholicism. He played in a few more German movies, but his career never recaptured its brilliance.2504 points- Snitz Edwards was born Edward Neumann in Hungary. Married first wife in 1889 and was divorced some time later. Although he was almost 20 years older than his wife, Edwards married Eleanor Taylor, an actress from Boston, in 1906. They had three children, Cricket (b. 1906), Evelyn (b. 1914) and Marian (b. 1917). The three girls were all put into films; in the late 1920s, Universal made a series of two reelers with the entire family based upon a theatrical family with three daughters. Edwards was earning $5,000 a week by then. Cricket became a secretary for the Jaffe Agency and married famous L.A. attorney Newt Kendall. She later became a movie producer and worked on films like The Guns of Navarone (1961) and The Victors (1963). Marian became an actress and later married writer Irwin Shaw (Rich Man, Poor Man (1976)). Evelyn was a writer who worked for RKO for years. Edwards' final film was the 1931 classic The Public Enemy (1931) but, by then, he was very sick with cirrhosis of the liver and rheumatoid arthritis. He is in a number of early scenes as "Putty Nose", but was unable to finish filming. He spent his final years bedridden, passing away in 1937 at home.2443 points
- Fritz Heinrich Rasp was the thirteenth child of a county surveyor. He was schooled from 1908-1909 at the Theaterschule Otto Königin in Munich where, due to a speech impediment, Rasp developed a Frankish dialect. Rasp debuted on the stage in 1909, as Amandus in Max Halbe's "Skandalstück Jugend" as the Münchner Schauspielhaus.
In May 1914, Rasp received a five-year contract in the Reinhardts Deutschem Theater in Berlin, which was interrupted by his military service to Germany from 1916 - 1918.1952 points - Actor
- Director
- Additional Crew
This elegant actor of the golden age of German cinema appeared in several masterpieces, before the cameras of such inspired geniuses as Lang, Lubitsch and Murnau. Vocation had come rather late in his life, though. Abel was indeed already 33 when he made his first film. Beforehand, he had been a forester, a gardener and a shopkeeper. But one day, while watching a film with Asta Nielsen, he was struck by revelation. He decided at once to become an actor and with the help of Nielsen in person he started a fruitful screen career. He also wrote and directed a few films. He died too soon aged only 57, but having honored the German screen with his noble, dignified figure in more than a hundred pictures.1839 points- Actor
- Director
- Producer
Conrad Veidt attended the Sophiengymnasium (secondary school) in the Schoeneberg district of Berlin, and graduated without a diploma in 1912, last in his class of 13. Conrad liked animals, theater, cinema, fast cars, pastries, thunderstorms, gardening, swimming and golfing. He disliked heights, flying, the number 17, wearing ties, pudding and interviews. A star of early German cinema, he became a sensation in 1920 with his role as the murderous somnambulist Cesare in Robert Wiene's masterpiece The Cabinet of Dr. Caligari (1920). Other prominent roles in German silent films included Different from the Others (1919) and Waxworks (1924). His third wife, Ilona (nicknamed Lily), was Jewish, although he himself wasn't. However, whenever he had to state his ethnic background on forms to get a job, he wrote: "Jude" (Jew). He and Lily fled Germany in 1933 after the rise to power of Adolf Hitler, and he became a British citizen in 1939. Universal Pictures head Carl Laemmle personally chose Veidt to play Dracula in a film to be directed by Paul Leni based on a successful New York stage play: "Dracula". Ultimately, Bela Lugosi got the role, and Tod Browning directed the film, Dracula (1931). In his last German film, F.P.1 Doesn't Answer (1932), Veidt sang a song called "Where the Lighthouse Shines Across the Bay." Although the record was considered a flop in 1933, the song became a hit almost 50 years later, when, in 1980, DJ Terry Wogan played it as a request on the Radio 2 breakfast show. That single playing generated numerous phone calls, and shortly thereafter the song appeared on a British compilation album called "Movie Star Memories" - a collection of songs from 1930s-era films compiled from EMI archives. The album was released by World Records Ltd., and is now out of print but can still be ordered online ("Where the Lighthouse Shines Across the Bay" is track 4 on side 2). Veidt appeared in Germany's first talking picture, Bride 68 (1929), and made only one color picture, The Thief of Bagdad (1940), filmed in England and Hollywood. His most famous role was as Gestapo Maj. Strasser in the classic Casablanca (1942); although he was not the star of the picture, he was the highest paid actor. He died while playing golf, and on the death certificate his name is misspelled as "Hanz Walter Conrad Veidt". Because he had been blacklisted in Nazi Germany, there was no official announcement there of his death. His ex-wife, Felicitas, and daughter Viola, in Switzerland, heard about it on the radio.1830 points- Actor
- Producer
- Writer
Douglas Fairbanks was born Douglas Elton Thomas Ullman in Denver, Colorado, to Ella Adelaide (nee Marsh) and Hezekiah Charles Ullman, an attorney and native of Pennsylvania, who was a captain for the Union forces during the Civil War. Fairbanks' paternal grandparents were German Jewish immigrants, while his mother, a Southerner with roots in Louisiana and Georgia, was of British Isles descent. From the age of five he was raised by his mother due to her husband's abandonment. She changed her sons' surnames to Fairbanks (her former husband's surname) and covered up their paternal Jewish ancestry.
He began amateur theater at age 12 and continued while attending the Colorado School of Mines. In 1900 they moved to New York. He attended Harvard, traveled to Europe, worked on a cattle freighter, in a hardware store and as a clerk on Wall Street. He made his Broadway debut in 1902 and five years later left theater to marry an industrialist's daughter.
He returned when his father-in-law went broke the next year. In 1915, he went to Hollywood and worked under a reluctant D.W. Griffith. The following year he formed his own production company. During a Liberty Bond tour with Charles Chaplin he fell in love with Mary Pickford with whom he, Chaplin and Griffith had formed United Artists in 1919. He made very successful early social comedies, then highly popular swashbucklers during the 'twenties. The owners of Hollywood's Pickfair Mansion separated in 1933 and divorced in 1936. In March 1936, he married and retired from acting.1779 points- Werner Krauss was born on 23 June 1884 in Gestungshausen, Sonnefeld, Bavaria, Germany. He was an actor, known for The Cabinet of Dr. Caligari (1920), Paracelsus (1943) and Robert Koch: The Battle Against Death (1939). He was married to Liselotte Graf, Maria Bard and Paula Saenger. He died on 20 October 1959 in Vienna, Austria.1613 points
- Actor
- Writer
- Additional Crew
During the heyday of German silent cinema, Rudolf Klein-Rogge was the prototype for the master criminal, the irredeemable arch villain or mad scientist. Born in Cologne, he served as a cadet in a Prussian military academy before finishing his matriculation. He then began to attend acting classes and studying art history in Berlin and Bonn, making his debut on the stage in 1909. After playing in theatres in towns and cities along the Rhine and northern Germany for nearly ten years, he started making films in 1919.
His villainous roots first came to the fore in The Cabinet of Dr. Caligari (1920), but he really established his reputation in a series of classic expressionist films written by his then-wife Thea von Harbou and directed by Fritz Lang. Of these, the most memorable were his forceful Moriarty-inspired portrayals of the titular character in Dr. Mabuse, the Gambler (1922), and its later sequel, The Testament of Dr. Mabuse (1933). The latter, which has an evil mastermind directing his empire from a madhouse, was so obviously aimed at the Hitler regime, that it was banned by Joseph Goebbels. Klein-Rogge's other noteworthy appearances include King Etzel in Die Nibelungen: Siegfried (1924) and Die Nibelungen: Kriemhild's Revenge (1924); and his insane scientist C.A. Rothwang, creator of the robot creature in Fritz Lang's masterpiece Metropolis (1927). A powerful personality possessed of an almost hypnotic stare and a strong, resonant voice, Klein-Rogge continued on through the 1930's in supporting roles. However, the period of expressionist cinema in Germany had all but run its course and he died in relative obscurity in Graz, Austria, in April 1955.1522 points- Actor
- Director
A grand, stoic presence of the silent screen, George Fawcett was an immensely popular stage thespian both here and in London at the turn of the century. During his heyday his eloquence rivaled that of both Lionel Barrymore and John Barrymore.
Born on August 25, 1860, in Alexandria Virginia, Fawcett was a graduate of the University of Virginia. His early acting career began in 1887, when he appeared in a production of "Baron Rudolph." Maintaining on the stage, he married actress wife, Percy Haswell, in 1895. She later formed the Percy Haswell (Stock) Company in Baltimore, Maryland in 1901, with George managing. The name was later changed to the George Fawcett Stock Company. The Company continued to stage shows until 1908.
Fawcett eventually became a formidable fixture under the Broadway lights, appearing in such classic plays as "The Little Minister (1897, his debut), as well as "Peter Stuyvesent" (1899), "Caleb West" (1900), "Ghosts" (1903), "The Squaw Man" (1905, 1911), "The Silver Girl" (1907), "The Great John Ganton" (1909), "Getting a Polish" (1910), "A Gentleman of Leisure" (1911), "The Law of the Land" (1914), "The Mountain Man" (1921) and "Peacock" (1932).
Fawcett came very late to films (age 55) but soon became a steadfast favorite of D.W. Griffith, who used him in his silent masterpieces Intolerance (1916), A Romance of Happy Valley (1919), True Heart Susie (1919), Scarlet Days (1919) and The Greatest Question (1919), as well as Lady of the Pavements (1929). Affectionately dubbed "The Grand Old Man of Films", Fawcett appeared in over 100 movies within a relatively short span of time (15 years), playing to great effect various ports of authority -- often grim, often stubborn and often bigoted. Other grand silent feature film appearances included The Cinderella Man (1917), The Beloved Traitor (1918), Turning the Tables (1919), Sentimental Tommy (1921), Polly of the Follies (1922), Java Head (1923), Pied Piper Malone (1924), Tess of the D'Urbervilles (1924), The Price of Pleasure (1925), The Merry Widow (1925), The Son of the Sheik (1926), Flesh and the Devil (1926), Tillie the Toiler (1927) and The Private Life of Helen of Troy (1927).
The elderly veteran moved into talking pictures with ease and scored several picture parts before retiring a few years into the era. Among those talking pictures, he supported Barbara Stanwyck in Ladies of Leisure (1930); Warner Oland in The Drums of Jeopardy (1931); Helen Twelvetrees in A Woman of Experience (1931); and Nancy Carroll in Personal Maid (1931), his final film.
George's wife, Percy Haswell, who frequently billed herself as "Mrs. George Fawcett," appeared with him in the Broadway plays "Peter Stuyvesent" and "Peacock", the latter which he produced in 1932. Fawcett died on June 6, 1939, in Nantucket, Massachusetts of heart problems. He was 78.1501 points- Actor
- Writer
- Additional Crew
Antonin Artaud was born on 4 September 1896 in Marseille, Bouches-du-Rhône, France. He was an actor and writer, known for The Passion of Joan of Arc (1928), Lucrezia Borgia (1935) and Napoleon (1927). He died on 4 March 1948 in Ivry-sur-Seine, Val-de-Marne, France.1486 points- Actor
- Director
- Second Unit Director or Assistant Director
George Siegmann was born on 8 February 1882 in New York, USA. He was an actor and director, known for The Birth of a Nation (1915), Should She Obey? (1917) and The Three Musketeers (1921). He was married to Maude Darby. He died on 22 June 1928 in Hollywood, California, USA.1462 points- Actor
- Soundtrack
Born Rasmus Karl Therkelsen Gottlieb in Copenhagen, Denmark, on October 12, 1886 the future Karl Dane had a rough childhood. His father was an alcoholic and spendthrift. At a young age his parents divorced. To escape his unhappy home he took a great interest in the arts, particularly puppeteering (something popular in Denmark at the time). Dane apprenticed as a machinist during his teenage years.
In 1910 he met and fell in love with Carla Dagmar Hagen. They had two children together: Ejlert Carl and Ingeborg Helene. Dane was restless all his life. War broke out, and Denmark was hit with major unemployment. Hoping to support his family (and find new adventures) Dane immigrated to America in 1916 with the intent to send for his family once he could afford to.
Dane was miserable and lonely, compounded by the fact his wife soon asked for a divorce. He worked various odd jobs (mostly as a mechanic and carpenter) and lived in various states.
Hearing of the good money in flickers Dane tried his luck. By 1917 he was given a small extra role at Vitagraph. Though his scene ended up on the cutting room floor Dane continued to seek a film career. With the outbreak of War in the US Dane found luck, being cast as the evil Hun in many Anti Kaiser films including "To Hell with the Kaiser!", "The Wolves of Kultur", and "My Four Year in Germany". Dane was very successful in such roles. Possibly to avoid anti German sentiment it was at this time he changed his name to the less provocative sounding 'Dane' (after well...being a Dane).
By 1918 Dane had grown disillusioned with Hollywood and had fallen in love with a Swedish woman named Helen Benson. Benson strongly disapproved of his acting so Dane quit and took up chicken farming. The pair married and Benson became pregnant in 1923. However she died in childbirth as did the child, a baby girl. Dane was devastated. Terribly lonely Dane quickly married telephone operator Emma Sawyer. The marriage only lasted 6 months.
During this unfortunate time Dane ran into old friend Charles Hutchison who convinced him to try acting again. This proved very lucky as Dane was chosen by King Vidor for the role of Slim in "The Big Parade". The film would be a major success and go on to be one of the best selling silents of all time (ironic considering Dane's previous Hun roles, it was an anti war film).
Dane was signed by MGM for a salary of $150 per week, which would eventually rise to $1,500 weekly. His family back in Denmark spotted him and they reconnected, though Dane would never see his children again. Dane so had many key roles in major movies including many Lillian Gish and John Gilbert films (such as La Boheme and The Scarlet Letter).
Dane's career continued to rise with a role as Ramadan in 1926's "Son of the Sheik" with Rudolph Valentino and "Bardelys the Magnificent" with John Gilbert. In 1927 Dane paired with British actor George K. Arthur to form the comedic duo Dane & Arthur. The pair were quite successful with Dane usually playing the slow witted Scandinavian.
Contrary to popular and hugely inaccurate Hollywood Babylon lore Dane did decently in talkies. His English was a bit shaky but his accent was understandable and suited his type and look perfectly. He would go on to have roles in many films between 1928 and 1930.
By 1928 Dane began to burn too brightly. He worked too hard and became ill and severely fatigued (almost dying of pneumonia at one point). He began a relationship with crazed Russian Thais Valdemar (contrary to what she claimed they never married). In 1930 Dane's roles had grown smaller and he soon lost his contract. Dane suffered a nervous break down the same year.
After recovering in 1931 Dane and Arthur reunited for an 8 month vaudeville tour which did very well and led to another film contract. However by 1932 this too had ended as writers couldn't think up enough clever scenarios for Dane. He made one final film, the 3 hour serial "The Whispering Shadow" which starred a new actor named Bela Lugosi (incredibly it took only 12 days to shoot). Dane had a small yet key role in the serial, ending his film career with a wonderful yet underrated performance.
Dane made major investments in mining in 1931 and 1933. However his business partner was crooked and Dane soon lost all the money he had made in films. Now impoverished Dane went from one menial job to another, always losing them in some cruel and unfair way. One such job was as a waiter at a café. The owner fired Dane soon after when he discovered a former movie star turned waiter did not draw in customers. MGM also refused to rehire Dane as even a carpenter or an extra despite his skills. Yes he did own a hot dog stand, no he didn't operate it in front of the MGM gates. That was a Kenneth Anger invention.
Days before his death Dane was returning to his apartment when he was pick-pocketed of all the money he had in the world: $18. On the eve of April 14th, 1934 Dane's friend (and possible girlfriend though the evidence is sketchy) Frances Leake arrived at his apartment to take him to a movie, hoping to lift his spirits. Unable to enter she had the landlady open the door. The duo discovered Dane slumped in his chair, a revolver at his side. He had left a note by a scrapbook of his publicity clippings, "To Frances and all my friends---Goodbye." He was 47.
Dane's body was held hoping his relatives could be found in Denmark. The Danish community of Hollywood was livid and insisted he be given a proper and dignified burial. At their urging MGM paid for a funeral. Dane was buried at Hollywood Forever Cemetery.1458 points- Actor
- Soundtrack
Lars Hanson was born on 26 July 1886 in Gothenburg, Västra Götalands län, Sweden. He was an actor, known for The Saga of Gösta Berling (1924), Captain Salvation (1927) and The Scarlet Letter (1926). He was married to Karin Molander. He died on 8 April 1965 in Stockholm, Stockholms län, Sweden.1451 points- Actor
- Soundtrack
He was the man you loved to hiss. This towering (6' 4"), highly imposing character star with cold, hollow, beady eyes and a huge, protruding snout would go on to become one of the silent screen's finest arch villains. Born Ernest Thayson Torrence-Thompson on June 26, 1878, in Edinburgh, Scotland, he was, unlikely enough, an exceptional pianist and operatic baritone. A graduate of the Stuttgart Conservatory, Edinburgh Academy before earning a scholarship at London's Royal Academy of Music, he toured with the D'Oyly Carte Opera Company in such productions as "The Emerald Isle" (1901) and "The Talk of the Town" (1905) before serious vocal problems set in. Both Ernest and his actor brother David Torrence came to America directly from Scotland prior to WWI. Focusing instead on a purely acting career, both brothers developed into seasoned players on the New York stage. Ernest made his Broadway bow with "Modest Suzanne" in 1912 and a standout role in "The Night Boat" in 1920 brought him to the attention of Hollywood filmmakers.
He earned superb marks playing the despicable adversary Luke Hatburn in Tol'able David (1921) opposite Richard Barthelmess, and immediately settled into films for the rest of his career. Adept at both comedy and drama, Ernest avoided what could have been a damaging stereotype with his sympathetic portrayal of a grizzled old codger in the classic western The Covered Wagon (1923). He further bolstered his celebrity with plum, lip-smacking roles alongside Lon Chaney in The Hunchback of Notre Dame (1923) as Clopin, king of the beggars, and Betty Bronson in Peter Pan (1924) as the dastardly Captain Hook. In an offbeat bit of casting he paired up with Clara Bow in Mantrap (1926) as a gentle, bear-like backwoodsman in search of a wife, and participated in other silent classics such as The King of Kings (1927) (as Peter) and Steamboat Bill, Jr. (1928) as Buster Keaton's steamboat captain Dad.
Despite his celluloid villainy, Ernest was known as a courtly and cultivated gentleman in private. He made the transition into talking films intact and was able to play a marvelous nemesis, Dr. Moriarty, to Clive Brooks' Sherlock Holmes (1932) before his untimely death. Ernest died following his filming as a smuggler in I Cover the Waterfront (1933) starring Claudette Colbert in New York on May 15,1933, at the relatively young age of 54. It seems that while en route to Europe by ship, Torrence suffered an acute attack of gall stones and was rushed back to a New York hospital. He died of complications following surgery. Looking and usually playing much older than he was, Hollywood lost a marvelously talented and robust character player who had dozens of films ahead of him.1395 points- Actor
- Director
- Writer
In 1902, 16-year-old Wallace Beery joined the Ringling Brothers Circus as an assistant to the elephant trainer. He left two years later after a leopard clawed his arm. Beery next went to New York, where he found work in musical variety shows. He became a leading man in musicals and appeared on Broadway and in traveling stock companies. In 1913 he headed for Hollywood, where he would get his start as the hulking Swedish maid in the Sweedie comedy series for Essanay. In 1915 he would work with young ingénue Gloria Swanson in Sweedie Goes to College (1915). A year later they would marry and be wildly unhappy together. The marriage dissolved when Beery could not control his drinking and Gloria got tired of his abuse. Beery finished with the Sweedie series and worked as the heavy in a number of films. Starting with Patria (1917), he would play the beastly Hun in a number of films. In the 1920s he would be seen in a number of adventures, including The Four Horsemen of the Apocalypse (1921), Robin Hood (1922), The Sea Hawk (1924) and The Pony Express (1925). He would also play the part of Poole in So Big (1924), which was based on the best-selling book of the same name by Edna Ferber. Paramount began to move Beery back into comedies with Behind the Front (1926). When sound came, Beery was one of the victims of the wholesale studio purge. He had a voice that would record well, but his speech was slow and his tone was a deep, folksy, down home-type. While not the handsome hero image, MGM executive Irving Thalberg saw something in Beery and hired him for the studio. Thalberg cast Beery in The Big House (1930), which was a big hit and got Beery an Academy Award nomination. However, Beery would become almost a household word with the release of the sentimental Min and Bill (1930), which would be one of 1930's top money makers. The next year Beery would win the Oscar for Best Actor in The Champ (1931). He would be forever remembered as Long John Silver in Treasure Island (1934) (who says never work with kids?). Beery became one of the top ten stars in Hollywood, as he was cast as the tough, dim-witted, easy-going type (which, in real life, he was anything but). In Flesh (1932) he would be the dim-witted wrestler who did not figure that his wife was unfaithful. In Dinner at Eight (1933) he played a businessman trying to get into society while having trouble with his wife, link=nm0001318]. After Marie Dressler died in 1934, he would not find another partner in the same vein as his early talkies until he teamed with Marjorie Main in the 1940s. He would appear opposite her in such films as Wyoming (1940) and Barnacle Bill (1941). By that time his career was slowing as he was getting up in age. He continued to work, appearing in only one or two pictures a year, until he died from a heart attack in 1949.1337 points- Tully Marshall intended to pursue a legal career, until he tried a dramatic course at Santa Clara University. He started stage work in San Francisco in 1883 and moved to New York in 1887, where he played in various roles on Broadway and on the road. After a few small parts in films he was given the role of the High Priest of Babylon in the D.W. Griffith classic, Intolerance (1916). One of his finest roles in silents was that of an old frontiersman in another classic, The Covered Wagon (1923).
When sound arrived Marshall was very much in demand and worked for nearly every major studio. His last film was Behind Prison Walls (1943). He died on March 10, 1943, after a 60-year career in entertainment.1319 points - Actor
- Director
- Writer
Gustav Fröhlich was born on 21 March 1902 in Hanover, Germany. He was an actor and director, known for Metropolis (1927), Leb' wohl, Christina (1945) and Seine Tochter ist der Peter (1955). He was married to Maria Hajek and Gitta Alpar. He died on 22 December 1987 in Lugano, Ticino, Switzerland.1259 points- Actor
- Additional Crew
Aleksandr Antonov was born on 13 February 1898 in Moscow, Russian Empire [now Russia]. He was an actor, known for Battleship Potemkin (1925), Dvenadtsataya noch (1955) and The Country Bride (1938). He died on 23 November 1962 in Moscow, RSFSR, USSR [now Russia].1227 points- Actor
- Producer
Hollywood's original Latin Lover, a term that was invented for Rudolph Valentino by Hollywood moguls. Alla Nazimova's friend Natacha Rambova (nee Winifred Hudnut) became romantically involved with Rudy and they lived together in her bungalow from 1921 (during the filming of Camille) until they eloped to Mexico on May 13, 1922 believing that his divorce from Jean Acker was official. After their re-marriage two years later she left him because he signed a contract that barred her from being involved in his pictures and wasn't allowed on set. She went to Nice to live with her parents and never entered their new mansion, Falcon Lair. He began to date sexy Pola Negri and was also linked to Vilma Banky. While he was touring to promote his last film, an editorial in the Chicago Tribune accused him of "effeminization of the American male". He defended his manhood by challenging the article's writer to a boxing match; it never took place, but another writer for the paper did enter the ring on behalf of the author who would not be named, and Valentino defeated him. He died shortly afterward while he was in New York attending the premiere of his last film. He collapsed in his hotel on August 15, 1926 and died on August 23, after an operation that led to an infection. 80,000 mourners nearly caused a riot at his New York funeral. Another funeral followed in California.1207 points- Actor
- Producer
- Additional Crew
George was the son of the San Francisco Chief of Police who became a college athlete. He was the Heavyweight Boxing Champion of the Pacific Fleet during World War I. In the early 1920s, George wound up in Hollywood where he worked as a stuntman and part time actor. In 1924, Director John Ford picked virtually unknown George to star in his first picture, The Iron Horse (1924). Over the next two years, he would appear in four more Ford films and would co-star with Janet Gaynor in The Blue Eagle (1926) and Sunrise (1927). "Sunrise," a winner of two Academy Awards, was the story of a simple farmer who lets another woman talk him into murdering his wife. George remained popular until sound came along. By that time, his popularity was sliding, but he did make the transition to sound. With his rugged looks and physical size, he was soon a Western Cowboy Star. He was in some of the best stories ever written, Riders of the Purple Sage (1931), and in some of the worst. But he was consistently in the Top Ten money-making Western Stars. He would appear in a few films outside the horse set, such as Ever Since Eve (1934), but those roles would be few. By the end of the 1930s, George was still a popular 'B' movie Cowboy Star, but he would not take the parts as seriously as he did a decade before. During World War II, he hung up his spurs, and he re-enlisted in the Navy where he fought in the Pacific and was decorated many times. After the war, when he would not find work in acting, John Ford, his old Director, would give him work with the cavalry in three of his films.1142 points- Actor
- Additional Crew
Max Schreck was born in Berlin. He worked in an apprenticeship until his father's death before enrolling into a school for acting. He toured the country with his peers and was a member of several theaters until he became a part of Max Reinhardt's group of innovative German actors. He played mostly out of the norm characters, the elderly and the grotesque, because of his talent and passion for make-up and costume fabrication. Although film was a challenge in which he excitedly and hopefully participated, he had small roles in films that are scarcely available, and his real career was in German theatre. He played hundreds of roles in his lifetime. He was married to Fanny Normann, a fellow performer whom he met a short time after his actor's education and shared many times with on stage. They had no children. He died on the morning of February 20th, 1936 from a heart attack.1142 points- Actor
- Additional Crew
Carl Miller was born on 9 August 1894 in Iowa Park, Texas, USA. He was an actor, known for The Kid (1921), The Lover of Camille (1924) and A Woman of Paris: A Drama of Fate (1923). He died on 20 January 1979 in Honolulu, Hawaii, USA.1127 points- Actor
- Director
- Writer
Gustav von Wangenheim was a German actor, film director, and screenwriter from Wiesbaden. He is mostly remembered for playing the character Hutter in the classic horror film "Nosferatu" (1921). His character was based on the character of Jonathan Harker in the novel "Dracula" (1897) by Bram Stoker.
In 1895, Wangenheim was born in Wiesbaden. His father was the prolific actor Eduard von Winterstein (1871-1961, real name: Eduard Clemens Franz Anna Freiherr von Wangenheim), while his mother was theatrical actress Minna Mengers. His paternal ancestors were members of German nobility, the Freiherrs (Barons) of Wangenheim.
Wangenheim made his film debut in 1914, and went on to star in several silent films. Besides "Nosferatu", his best known film was "Woman in the Moon" (1929) by y Fritz Lang. It was among the earliest depictions of space travel in film, and is still considered one of the first "serious" science fiction films.
In 1921, Wangenheim joined the Communist Party of Germany (KPD, 1918-1956). At the time, the KPD was one of the major political parties of the Weimar Republic. During the 1920s, the party became Stalinist in ideology. In 1931, Wangenheim established "Die Truppe '31", a theatrical company consisting exclusively of communists. Wangenheim both wrote and produced three plays for this theatre company between 1931 and 1933.
In 1933, the then-new Nazi regime shut down Wangenheim's theatrical company. His ideology made Wangenheim a target for Nazi persecution, so he soon fled Germany. He settled in the Soviet Union, becoming a long-term resident of the "Hotel Lux" in Moscow. During the 1930s, this hotel housed exiles from about 50 different countries.
In 1933, Wangenheim became the new leader of Left Column, a Soviet theatrical company which consisted primarily of German exiles. He eventually secured enough funding to direct the film "Der Kampf" (1936), a film protesting against the oppressive policies of Nazi Germany.
In 1936, Wangenheim was implicated in the then-ongoing trials of the Great Purge, a repressive political purge within the Soviet Union. He reportedly denounced the actress Carola Neher (1900-1942) and her husband as Trotskyites. According to a testimony from Wangenheim's son, following a lengthy interrogation, his father was forced to sign papers which implicated Neher in an anti-Soviet conspiracy. The charges against her had been prepared, and the authorities needed to convince Wangenheim to serve as a false witness.
In 1943, Wangenheim became a founding member of the "National Committee for a Free Germany". It was an anti-Nazi and pro-Soviet organization formed within the Soviet Union, with most of its members being German exiles or German war prisoners that tried to gain support from the Soviet government.
Following the end of World War II, Wangenheim settled in East Germany. He joined the state-owned film studio DEFA (1946-1992), serving as one of its film directors and screenwriters for several years. In 1954, he had his long-term marriage to the writer and photographer Inge von Wangenheim (1912-1993) annulled.
In 1975, Wangenheim died in East Berlin, at the age of 80. He was buried in the Friedrichsfelde cemetery in Berlin. He remains among the best remembered actors of the German silent film period, in part due to collaborations with well-regarded film directors.1105 points- Actor
- Director
- Soundtrack
J. Farrell MacDonald was born on 14 April 1875 in Waterbury, Connecticut, USA. He was an actor and director, known for Sunrise (1927), My Darling Clementine (1946) and The Great Lie (1941). He was married to Edith Bostwick. He died on 2 August 1952 in Hollywood, California, USA.1099 points- Actor
- Director
- Writer
Hobart Bosworth--pioneering movie director, writer, producer and actor--was born Hobart Van Zandt Bosworth on August 11, 1867, in Marietta, OH. He was a direct descendant of Miles Standish and John and Priscilla Alden on his father's side and of New York's Van Zandt family, the first Dutch settlers to land in the New World, on his mother's side. Bosworth was always proud of his lineage.
After his mother died his father remarried and the young Hobart took a dislike to his stepmother. Convinced that he was "ill used and cruelly treated," as he told an interviewer in 1914, he ran away from home for to New York City. He signed on as a cabin boy on the clipper ship "Sovereign of the Seas" and was soon out at sea.
After his first voyage, a five-month affair that took him from New York to San Francisco, he spent his wages on candy. Sleeping it off on a bench in the park in back of Trinity Church, the young boy did not know that the organ music he was listening to as he dozed was being played by his very own uncle. A Captain Roberts, who found stevedore work for the lad, told him of his uncle's presence in San Francisco. He continued as a sailor, as the sea was in his family's blood, eventually spending three years at sea. "All my people were of the sea and my father was a naval officer," he told an interviewer. He spent 11 months on an old-fashioned whaler plying the Arctic region, then was employed doing odd jobs in San Francisco. After turns as a semi-professional boxer and wrestler, Bosworth tried ranching in Southern California and Mexico, where he learned to become an expert horseman. Finally, his interest in art led him to the stage.
Thinking he'd like to become a landscape painter, a friend suggested that Bosworth work as a stage manager to raise the money to study art. Acting on his friend's advice, Bosworth obtained a job with McKee Rankin as a stage manager at the California Theatre in San Francisco. With the money he made, he undertook the study of painting. Eventually he was pressed into duty as an actor with a small part with three lines. Though he botched the lines, he was given other small roles. Bosworth was 18 years old and on the cusp of a life in the theater.
He signed on with Louis Morrison to be part of a road company for a season as both an actor and as Morrison's dresser, playing William Shakespeare's "Cymbeline" and "Measure for Measure" (during his time with the company, Hobarth and another writer wrote a version of "Faust" that Morrison used for 20 years in repertory). By 1887 he was acting at the Alcazar Theatre in San Francisco, and became proficient enough on stage to give Shakespearean recitals in costume the following year. He had acted almost all of the famous characters in the Shakespearean canon by the time he was 21 years old, though he admitted that he was the worst Macbeth ever.
Bosworth eventually wound up in Park City, UT, where he was forced to work in a mine, pushing an ore wagon in order to raise money. He escaped the pits to tour with magician Hermann the Great as the conjurer's assistant for a tour through Mexico. For the first time in eleven years, the 21-year-old Bosworth met his father. Hobarth recalled, "[H]e looked at me and said 'Hum! I couldn't lick you now, son.'" They never met again.
Bosworth arrived back in New York in December 1888, and was hired by Augustin Daly to play Charles the Wrestler in "As You Like It." He did so well in the role that Daly kept him on. Bosworth remained with Daly's company for 10 years, in which he played mostly minor parts. Seven times while he was with the company it made foreign tours, playing in Berlin, Cologne, London, Paris and other European cities.
Eventually, being kept in small parts eroded his confidence, and Bosworth left Daly to sign on with Julia Marlowe, who cast him in leads in Shakespearean plays. Just as Bosworth began to taste stage stardom in New York, he was struck down with tuberculosis, a very serious ailment in the 19th century. Bosworth was forced to give up the stage, as he was not allowed to toil indoors. Though he made a rapid recovery, he returned to the stage too quickly and suffered a relapse. For the rest of his working life he had to balance his acting with periods of rest so as to keep his T.B. under control.
Bosworth re-established himself as a lead actor on the New York stage, appearing opposite the famous actress Minnie Maddern Fiske (Mary Augusta Davey) in the 1903 Boradway revival of Henrik Ibsen's "Hedda Gabler." He also appeared that year on the Great White Way as the lead in "Marta of the Lowlands," which was produced by Harrison Grey Fiske, Mrs. Fiske's husband. The role propelled him to Broadway stardom. However, he was forced again to give up the stage when he lost 70 pounds in ten weeks.
Moving to Tempe, AZ, to partake of the salubrious climate improved his chances of battling T.B., and eventually he got the disease under control. While he was not actually an invalid, he was forced to live like one and remain in a warm climate lest he suffer a relapse. The T.B. robbed him of his voice, but since he was no longer on stage, it didn't matter. There was a new medium for actors: motion pictures. Bosworth moved to San Diego, which had a reputation of having the most perfect climate in the continental United States, and in 1908 was contracted to make a film by the Selig Polyscope Co. Shooting was to be down in the outdoors, and he did not have to use his voice, which was in a poor condition. The arrangement was perfect for him. "I believe, after all, that it is the motion pictures that have saved my life," he recounted less than a decade later. "How could I have lived on and on, without being able to carry out any of my cherished ambitions? What would my life have meant? Here, in pictures, I am realizing my biggest hopes." Signing with Selig, Bosworth eventually spearheaded the movie company's move to Los Angeles. He is widely credited with being the star of the first movie made on the West Coast. Due to his role in pioneering California for the film industry, Bosworth often was referred to as the "Dean of Hollywood." He wrote the scenarios for the second and third pictures he acted in, and directed the third. According to his own count, he eventually wrote 112 scenarios and produced 84 pictures for Selig. Bosworth was attracted to Jack London's work due to his out-of-doors filming experience and the requirements of his health, which obviated acting in studios. "In all my reading I have never come across better material for motion picture plays than Jack London's stories, and I hope to go right through the whole lot."
In 1913 he formed his own company, Hobart Bosworth Productions Co., to produce a series of Jack London melodramas. He produced, directed and starred in the company's first picture, playing Wolf Larsen in The Sea Wolf (1913), with London himself appearing as a sailor. The movie was released in the U.S. by W.W. Hodkinson Corp. D.W. Griffith also released a Jack London picture earlier that year, Two Men of the Desert (1913), but Bosworth followed up "The Sea Wolf" with The Chechako (1914), with Jack Conway playing the lead as Smoke Bellew, the title character of the eponymous London novel the movie is based on. "The Chechako" and some of the subsequent Boswoth-London pictures were distributed through Paramount, the releasing arm of Famous Players-Lasky.
Conway also starred in the Bosworth-directed follow-up The Valley of the Moon (1914), in which Bosworth had a supporting role. He also appeared as an actor in John Barleycorn (1914), which he co-directed with J. Charles Haydon. He produced, directed, wrote and acted in Martin Eden (1914) and An Odyssey of the North (1914), playing the lead in the latter, which was released by Paramount. He finished up the series by producing, directing and playing the lead in the two-part "Burning Daylight" series: Burning Daylight: The Adventures of 'Burning Daylight' in Alaska (1914) and Burning Daylight: The Adventures of 'Burning Daylight' in Civilization (1914), both of which were released by Paramount.
Bosworth hooked up with the Oliver Morosco Photoplay Co., making its Los Angeles facility on North Occidental Boulevard his headquarters. Subsequently Bosworth Inc. and Oliver Morosco Photoplay were absorbed by Paramount in 1916. Between 1913 and 1921 Hobart Bosworth Productions produced a total of 31 pictures, most of which starred Bosworth. The company ceased operations after producing The Sea Lion (1921).
The merger with Paramount ended the period in Bosworth's creative life where he was a major force in the motion picture industry, which was undergoing changes as the industry matured and solidified. He directed his last picture even before the merger, The White Scar (1915), which he also wrote and starred in for Universal Film Manufacturing Co. After his own production company wound up, Hobart Bosworth began playing supporting roles as an actor. He divorced his first wife, Adele Farrington, in 1919, the year after their son George was born.
He survived the transition to sound. Aside from appearing in Warner Bros.' showcase film Show of Shows (1929), his talking picture debut proper was in the short subject A Man of Peace (1928) for Vitaphone, while his first sound feature was Vitaphone's Ruritania drama General Crack (1929), starring John Barrymore.
Though he appeared in small roles in A-list films, including some classics, Bosworth primarily made his living as a prominently billed character actor in "B" westerns and serials churned out by Poverty Row studios. In his roles in A and B pictures, he typically was typecast as a fatherly type, such as dads, clergymen, judges, governors and the like, though occasionally he got to play a heavy. His most memorable roles included playing John Gilbert's father in both King Vidor's classic The Big Parade (1925) and Clarence Brown's A Woman of Affairs (1928), and Conrad Nagel's father in Du Barry, Woman of Passion (1930). He also appeared in the Al Jolson vehicle Mammy (1930), directed by Michael Curtiz, and in the Little Rascals' only feature film, General Spanky (1936) (a flop).
In addition to Vidor, Brown and Curtiz, Bosworth worked with other great directors, including Ernst Lubitsch (in support of John Barrymore in Eternal Love (1929)), D.W. Griffith (playing Gen. Robert E. Lee in Abraham Lincoln (1930)), 'Frank Capra' (in Dirigible (1931)) and Lady for a Day (1933)) and John Ford (headlining Hearts of Oak (1924), starring in Hangman's House (1928) and playing the Chaplain in support of Will Rogers in Steamboat Round the Bend (1935)).
Bosworth had a featured role in the early science-fiction movie Just Imagine (1930) and played Chingachgook in support of star Harry Carey's Hawkeye in Mascot Pictures' serial The Last of the Mohicans (1932). As the sound era wore on, he was reduced to bit parts, frequently uncredited, in such A-pictures as the W.C. Fields comedy Million Dollar Legs (1932) and the Errol Flynn western They Died with Their Boots On (1941). He kept working until the year before his death, appearing in six films in 1942, including an uncredited bit role as a clergyman in support of Barbara Stanwyck in The Gay Sisters (1942), his penultimate picture. His last film was Universal Pictures' western Sin Town (1942), starring Constance Bennett and Broderick Crawford, which was advertised with the intriguing tagline "The Glory Hole of the Booming Oil Towns!"
Altogether, Hobart Bosworth acted in over 250 movies from 1908 to 1942, directed 44 known pictures from 1911 to 1915, and wrote 27 & produced 11 known pictures from 1911 to 1921. His actual count might be hundreds more.
Hobart Bosworth, the "Dean of Hollywood," died on December 30, 1943 of pneumonia in Glendale, CA. He was 76 years old. He was survived by his second wife, Cecile, and his son George.1068 points- Vladimir Fogel was born in 1902 in Moscow, Russian Empire [now Russia]. He was an actor, known for By the Law (1926), The Adventures of the Three Reporters (1926) and Chess Fever (1925). He died on 8 June 1929 in Moscow, Russian SFSR, USSR [now Russia].1066 points
- Actor
- Director
- Soundtrack
Gustav von Seyffertitz was born on 4 August 1863 in Haimhausen, Dachau, Bavaria [now Bavaria, Germany]. He was an actor and director, known for Sherlock Holmes (1922), Son of Frankenstein (1939) and The Wizard (1927). He was married to Katharina Hoffmann, Eugenie von Mink, Toni Creutzburg, Nelly Thorne and Frieda. He died on 25 December 1943 in Woodland Hills, Los Angeles, California, USA.1020 points- Actor
- Additional Crew
- Director
Jackie Coogan was born into a family of vaudevillians; his father was a dancer and his mother had been a child star. On the stage by age 4, Jackie was touring at age 5 with his family in Los Angeles, California.
While performing on the stage, he was spotted by Charles Chaplin, who then and there planned a film in which he and Jackie would star. To test Jackie, Chaplin first gave him a small part in A Day's Pleasure (1919), which proved that he had a screen presence. The movie that Chaplin planned that day was The Kid (1921), where the Tramp would raise Jackie and then lose him. The movie was very successful and Jackie would play a child in a number of movies and tour with his father on the stage.
By 1923, when he made Daddy (1923), he was one of the highest- paid stars in Hollywood. He would leave First National for MGM where they put him into Long Live the King (1923). By 1927, at age 13, Coogan had grown up on the screen and his career was going through a downturn. His popular film career would end with the classic tales of Tom Sawyer (1930) and Huckleberry Finn (1931).
In 1935, his father died and his mother married Arthur Bernstein, who was his business manager. When he wanted the money that he made as a child star in the 1920s, his mother and stepfather refused his request and Jackie filed suit for the approximately $4 million that he had made. Under California law at the time, he had no rights to the money he made as a child, and he was awarded only $126,000 in 1939. Because of the public uproar, the California Legislature passed the Child Actors Bill, also known as the Coogan Act, which would set up a trust fund for any child actor and protect his earnings.
In 1937, Jackie married Betty Grable; the marriage lasted 3 years. During World War II, he served in the Army; he returned to Hollywood after the war. Unable to restart his career, he worked in B-movies, mostly in bit parts and usually playing the heavy. In the 1950s he started to appear on television, and he acted in as many shows as he could. By the 1960s he would be in two completely different television comedy series.. The first one was McKeever and the Colonel (1962), where he played Sgt. Barnes in a military school from 1962 to 1963. The second series was the classic The Addams Family (1964), where he played Uncle Fester from 1964 to 1966. After that, he continued to make appearances on television shows and a handful of movies. He died of a heart attack in 1984.1020 points- Actor
- Director
- Writer
Ramon Novarro was born José Ramón Gil Samaniego on February 6, 1899 in Durango, Mexico, to Leonor (Gavilan) and Dr. Mariano N. Samaniego Siqueiros, a prosperous dentist. Ramon and his family moved to Los Angeles in 1913, as refugees from the Mexican Revolution. After stints as a ballet dancer, piano teacher and singing waiter, he became a film extra in 1917. For five years he remained an extra until director Rex Ingram cast him as Rupert in The Prisoner of Zenda (1922). He was cast with Lewis Stone and Ingram's wife, Alice Terry (Ingram was also the person who suggested that he change his name to Novarro). He worked with Ingram in his next four films and was again teamed with Terry in the successful Scaramouche (1923). Novarro's rising popularity among female moviegoers resulted in his being billed as the "New Valentino". In 1925 he appeared in his most famous role, as the title character in Ben-Hur: A Tale of the Christ (1925), and later co-starred with Norma Shearer in The Student Prince in Old Heidelberg (1927). His first talking picture was Call of the Flesh (1930), where he sang and danced the tango. He continued to appear in musicals, but his popularity was slipping. He starred with Greta Garbo in the successful Mata Hari (1931), but his career began to fade fast. In 1935 he left MGM and appeared on Broadway in a show that quickly flopped. His later career, when he was able to find work in films, consisted mostly of cameos. On October 30th, 1968, Ramon Novarro was savagely beaten in his North Hollywood home by two young hustlers. They had heard - in error - that he had thousands of dollars locked away somewhere in his home. They never found any money, and Ramon was discovered dead the next day by his servant.1019 points- Actor
- Director
Mack Swain was born in 1876 and soon became a talented vaudevillian. In 1913 he was hired by Mack Sennett and appeared in a few Mabel Normand pictures until a year later he became even bigger when Charlie Chaplin arrived at the Keystone Studio. Swain later created a character by the name of Ambrose whom he appeared with Mr. Walrus (Played by comic Chester Conklin) most memorably in "Love Speed & Thrills" (1915).
After that his career began to go downward until Charlie Chaplin rescued it in 1921 and he later appeared in his masterpiece "The Gold Rush" (1925). After "The Gold Rush" he appeared in many Hollywood productions such as Lon Chaney's "Mockery" and "The Last Warning" (1929).
In 1931 he appeared in the academy award nominee for best short "Stout Hearts and Willing Hands" which also co-starred former keystone actors such as Chester Conklin, Sterling Ford, Clyde Cook, and Owen Moore. He retired from then onward and died in 1935.1012 points- Actor
- Director
Theodor Loos was born on 18 May 1883 in Zwingenberg, Hesse, Germany. He was an actor and director, known for M (1931), Metropolis (1927) and Die Nibelungen: Siegfried (1924). He died on 27 June 1954 in Stuttgart, Germany.1010 points- Brandon Hurst was born on 30 November 1866 in London, England, UK. He was an actor, known for Dr. Jekyll and Mr. Hyde (1920), The Hunchback of Notre Dame (1923) and Love (1927). He died on 15 July 1947 in Hollywood, California, USA.994 points
- Born in Canada, Sam De Grasse entered films in 1912 and specialized in playing thoroughly disreputable, nasty, slimy bad guys. Douglas Fairbanks was so impressed with De Grasse's villainy that he used the actor in several of his more memorable productions. He wasn't the only member of the De Grasse family in films, though. His brother Joseph De Grasse was an actor and director, and his nephew Robert De Grasse was a cinematographer.992 points
- Actor
- Additional Crew
- Stunts
Harold Goodwin was born on 1 December 1902 in Peoria, Illinois, USA. He was an actor, known for All Quiet on the Western Front (1930), The Better 'Ole (1926) and Movie Crazy (1932). He died on 12 July 1987 in Woodland Hills, Los Angeles, California, USA.969 points- Alexander Granach was born in the region of Galizia, in what was then the Austro-Hungarian Empire (today Ukraine). Given the name Jessaja Szajko Gronish, he was one of a dozen children of a poor Jewish family eking out a living, first in a farming village, later in a series of small towns and cities. He began working early mornings as a baker in his father's poor bakery by the age of 6, had a rough and tumble youth with relatively little schooling in religious and secular Jewish schools. He ran away from home four times, according to his autobiographical novel, but, reunited with his family at the age of 14, saw his first theatrical production, a famous play in the Yiddish language. Granach was smitten by the stage and, determined to become an actor, ran away to Berlin in 1909. In Berlin, Granach worked as a journeyman baker, fell in with a group of Jewish socialist worker-intellectuals--recent immigrants from similar Eastern European backgrounds to his own. His beginning as an actor was in amateur Yiddish-speaking productions, but he was encouraged to learn German and aspire to a wider career and was accepted into the acting school of Max Reinhardt, Europe's leading theatrical figure. Although the beginning of his acting career was interrupted by his military service in World War I, and his time as a prisoner of war in Italy, after the war he rapidly established himself as a leading figure of the flourishing theater and film industry of the Weimar-era in post-war Germany. His most enduring success in German film was as "Knock," the weird real estate agent in "Nosferatu." His charisma is demonstrated in the early German "talkie," "Kameradschaft" (1931), directed by G.W. Pabst. Granach was a well-known figure in the lively political and artistic milieu of the 1920s and early '30s, a friend of leading writers, actors, and directors, and had to flee as soon as Hitler came to power in 1933-as both a Jew and a Leftist. He spent the next five years in exile in Poland and the Soviet Union, acting in films and plays, but was arrested by Stalin's minions in 1938 and was fortunate to be able to leave the USSR and then to get to the United States. He learned English, as he had once learned German, and got his chance to act in Hollywood and then on Broadway, joining the small army of Jewish and other escapees from Hitler's Europe. The role for which he is best known in America is that of Kopalsi in "Ninotchka," (1939) directed by Ernst Lubitsch, but his role as Gestapo Inspector Alois Gruber in "Hangmen Also Die!" (1943) should be better known. (The film was written, in part, by his old colleague, Bertolt Brecht and directed by Fritz Lang.) Granach was acting on Broadway with Frederic March in the play by John Hersey, "A Bell for Adano," when he had an attack of appendicitis and died several days later of an embolism, on March 13, 1945. Alexander Granach wrote an autobiographical novel, with the title Da geht ein Mensch, in German, which was published in 1945, just after his death. The book was published at the same time in an English version, as There Goes an Actor. It was recognized at the time as a remarkable work, and has been republished as: From the Shtetl to the Stage: the Odyssey of a Wandering Actor, by Transaction Publishers, 2010.960 points
- American character actor of silent films, Edward Connelly, a native New Yorker, was a newspaperman before he became an actor, being a reporter for the New York Sunl. At 25 he joined a theatrical stock company in Kansas City and appeared subsequently on Broadway in such plays as "Shore Acres," "The Belle of New York," "Babbitt," "The Wild Duck," and his own production of "Marse Covington," which he later filmed (Marse Covington (1915)). Moving to Hollywood, he became a contract player at MGM, where he remained until his death from influenza in 1928.954 points
- Marc McDermott was born Marcus Patrick McDermott in Goulburn, New South Wales, Australia, on July 24, 1871. His father Patrick James McDermott and mother Annie Massey McDermott were born in Ireland, and Marc later became an English citizen when he moved to London. His younger sister May, was born in Australia in 1881. He received his early education at a Jesuit school in Sydney. When Marc was 15, his father died suddenly. To support his mother and little sister, Marc joined a small local theater company. A year later, he was discovered by the famous Shakespearean actor George Rignold and made his first appearance on the stage in Sydney. He stayed with the company for several years, learning his craft. When Rignold's company departed for London, Marc quickly caught the eye of Charles Frohman, a New York agent and producer, whose clients included Mrs. Patrick Campbell, the first lady of the London stage. Tall with thick auburn hair and dark brown eyes, Marc cut an impressive figure. Mrs. Pat, as she was called, chose the 20-year-old to be her leading man. The company sailed to the US and landed in New York, where he played opposite her as Sir George Orreyed in "The Second Mrs. Tanqeray." The company returned to London, where he was hired by Frohman to play "Sherlock Holmes" in London for two years. For the next several years, Marc became a celebrated West End actor. In 1906, he accepted Frohman's offer to sail to New York and join the company of the great classical actor Richard Mansfield. He toured the US for several years, and in 1909 was approached by Charles Brabin, a fellow stage actor (and soon to be director) who was working at Thomas Edison's film studio in the Bronx. Marc was quickly hired to appear as a featured player, replacing Maurice Costello, who had moved to Vitagraph. His first film was Les Misérables (1909), followed by Lochinvar (1909) (Lochinvar was released first but he filmed "Les Miserables" prior to it). From 1909 through the summer of 1916, he starred in over 140 films for Edison, appearing frequently in popular early film magazines like Photoplay, Motion Picture, and Moving Picture World, voted as one of the most popular leading men during these years. In 1911, Marc costarred with Mary Fuller in Edison's first popular series "What Ever Happened to Mary?" Another favorite leading lady of Marc's was Miriam Nesbitt, who was eight years his senior. Their on-screen romance soon grew into a real-life love affair. On April 7, 1914, Marc made film history when he appeared in the first-ever "chapter" series; each chapter was a complete story in and of itself. The 10-chapter series was titled The Man Who Disappeared (1914), and was filmed on location in New York and New Jersey. Each printed chapter story was featured in "Popular Magazine" as each filmed chapter simultaneously appeared on the screen. As Marc told "Motion Picture" writer Gladys Roosevelt, he did all his own stunts, including driving an automobile into the icy East River, fighting a villain on top of a NYC skyscraper that was actually being built at the time, and being handcuffed to the railroad tracks. On April 20, 1916, Marc and Miriam married in Leonia, New Jersey. By this time, he had made more than 140 films. Later that year, Marc left the Edison Studio to join his best friends Charles Brabin and Ashley Miller at the Vitagraph Studio, where he starred in a number of films. In 1918, Marc moved to Fox Films in New York to star with Theda Bara in "Kathleen Mavourneen," directed by Charles Brabin, who would soon marry his star. Marc left Fox in 1920 to freelance, appearing with Norma Talmadge in "The New Moon." He then costarred with Estelle Taylor in "While New York Sleeps," with Brabin working as both writer and director. Another director friend from his Vitagraph days, John Robertson, directed him in "Footlights" (1921) with Elsie Ferguson. In 1922, his marriage began to unravel when Miriam discovered some love letters to actress Helen Gilmore and filed for a separation. The New York Times reported that he was arrested on August 11 and held in Ludlow Street Jail until he was released after paying $5,000 in bail. Marc left to visit his older brother's family, who had settled in Lowell, Massachusetts. After appearing in a vaudeville skit, he boarded a train in Boston and headed to Hollywood. Marc immediately went to work for Fox Films in "Hoodman Blind" directed by John Ford. At Warner Bros., he appeared in "Lucretia Lombard" with Irene Rich, Monte Blue, and Norma Shearer, which was produced by Harry Rapf. Marc next appeared with Florence Lawrence, the Biograph Girl, in "The Satin Girl." When M-G-M was formed in 1924, Marc was contracted to appear in their very first film, "He Who Gets Slapped." The cast included Lon Chaney, Norma Shearer, and John Gilbert. Mary Pickford, an old friend from his New York days, cast him in "Dorothy Vernon of Haddon Hall" as Sir Malcolm Vernon. Another director friend, Marshall "Micky" Neilan, directed. Marc was in high demand at different studios for the next two years: "In Every Woman's Life" and "Siege" both with Virginia Valli; "This Woman" with Irene Rich, Ricardo Cortez, and Clara Bow in a minor role; and "The Sea Hawk" with Milton Sills, Enid Bennett, and Wallace Beery. At Universal Pictures in 1925, he appeared in "The Goose Woman" with Louise Dresser, Jack Pickford, and Constance Bennett. The film was directed by his friend Clarence Brown. Once again, Norma Talmadge cast him as the villain in "Graustark." In 1926, Marc was busy at M-G-M playing in both "The Temptress" with Greta Garbo and Antonio Moreno and "Flesh and the Devil" with Garbo and John Gilbert. One of his favorite costars was Greta Nissen, with whom he appeared in "The Love Thief" for Universal and "Lucky Lady" for Paramount. Norma Talmadge tapped his talent once again for "Kiki," a saucy little comedy with Ronald Coleman. During 1927, Marc starred in several M-G-M films, including "California" with Tim McCoy and Dorothy Sebastian, directed by W.S. "Woody" Van Dyke; and "Man, Woman and Sin" with Jeanne Eagels and John Gilbert, directed by Monta Bell. When the newly formed Academy of Motion Picture Arts & Sciences held their first meeting at the Biltmore Hotel's Crystal Ballroom on May 11, 1927, Marc was among the 230 pioneer members in attendance. His name appears in the program listing of 102 actors. Later that year, his old friend John Robertson recruited him for "The Road to Romance" with Ramon Navarro and Marceline Day, and he also appeared in "Taxi Dancer" with Joan Crawford, as well as "Resurrection" with Rod La Rocque and Dolores Del Rio at United Artists. In 1928, during a vaudeville tour to Chicago, Marc became ill and returned to Hollywood to recuperate. His next film for M-G-M was "Under the Black Eagle" directed by Woody Van Dyke. For "Glorious Betsy" at Warner Bros., some Vitaphone talking sequences were included. The film starred Dolores Costello, the beautiful wife of John Barrymore and daughter of Maurice Costello, whom Marc had replaced at Vitagraph back in 1916. First National cast Marc in "The Yellow Lily" starring the lovely Bessie Dove. His last two films were "The Mysterious Island" shot in Technicolor with black and white sequences. Vitaphone sound sequences, a musical score, and sound effects were later added. Marc's old friend Charles Brabin directed him in his last film, "The Whip," which starred Dorothy Mackaill, Ralph Forbes, and Anna Q. Nilsson. During filming, Variety reported that Marc became very ill from ptomaine poisoning, lapsed into a three-month coma, and died from a gallbladder operation. However, Dr. E.F. Miller wrote on the death certificate that he had attended to Marc at home for eight months and then in the hospital from December 5, 1928 until his death at 5:20 a.m. on January 5, 1929. Further, he stated that no operation had preceded his death. The diagnosis of cirrhosis of the liver was confirmed by clinical and laboratory tests performed on January 6. His body was cremated at the Hollywood Crematory, and his ashes were placed in a crypt in the Great Mausoleum at Forest Lawn Cemetery in Glendale, where the brass plaque reads: Marcus McDermott, 1881-1929 (his correct birth date is 1871 according to his will and Australian birth records). His untimely death coincided with the death of silent films.950 points
- Actor
- Soundtrack
Nils Asther was born in Copenhagen, Denmark, in 1897 and raised in Malmö, Sweden, by his wealthy Swedish parents. After attending the Royal Dramatic Theater School in Stockholm, he began his stage career in Copenhagen. His film debut came in 1916 when the director Mauritz Stiller cast him in the lead role (as an aspiring actor, appropriately enough) in the Swedish film Vingarne (1916). After working with Victor Sjöström in Sweden and Michael Curtiz in Germany, Asther moved to Hollywood in 1927, where his exotic looks landed him romantic roles with co-stars such as Greta Garbo, Pola Negri, and Joan Crawford. Although his foreign accent was a hindrance in "talkies", his Hollywood career continued until 1934 when he was blacklisted for breaking a contract and went to Britain for four years. After his return to Hollywood in 1938, his career declined and by 1949 he was driving a truck. In 1958, he returned to Sweden, where he remained until his death, making occasional appearances in television and on stage.938 points- Actor
- Director
- Writer
Gerron fled to France (because he was Jewish), then settled in Amsterdam in 1933. He was arrested by the SS in 1943 and was sent to Theresienstadt in 1944 to direct a staged documentary intended to persuade world public opinion that Jews were well treated in concentration camps. He made a film called "The Fuhrer Donates a City to the Jews" or in German "Der Fuhrer schenkt den Juden eine Stadt". After he completed the film he was sent to Auschwitz where he was murdered.936 points- Brooks Benedict was born on 6 February 1896 in New York City, New York, USA. He was an actor, known for Why Girls Go Back Home (1926), Speedy (1928) and Orchids and Ermine (1927). He died on 1 January 1968 in Houston, Texas, USA.923 points
- Actor
- Soundtrack
Popular Hollywood leading man of late silents and early talkies. He is best remembered for his teaming with Janet Gaynor in 12 screen romances between 1927 and 1934. He retired from films in the early 1940s, but TV audiences of the 1950s would see him as Gale Storm's widower dad in the popular television series My Little Margie (1952).910 points- Actor
- Producer
- Director
Heinrich George was born on 9 October 1893 in Stettin, Pomerania, Germany [now Szczecin, Zachodniopomorskie, Poland]. He was an actor and producer, known for Metropolis (1927), Burning Hearts (1945) and Die Degenhardts (1944). He was married to Berta Drews. He died on 25 September 1946 in Soviet Special Camp No. 7, Oranienburg, Brandenburg, Germany.865 points- Director
- Actor
- Writer
Victor Sjöström was born on September 20, 1879, and is the undisputed father of Swedish film, ranking as one of the masters of world cinema. His influence lives on in the work of Ingmar Bergman and all those directors, both Swedish and international, influenced by his work and the works of directors whom he himself influenced.
As a boy Sjöström was close to his mother, who died during childbirth when he was seven years old. Biographers see this truncated relationship as being essential to the evolution of his dramatic trope of strong-willed, independent women in his films. He was masterful at eliciting sensitive performances from actresses, such as that of Lillian Gish in his American classic The Wind (1928).
The teenaged Sjöström loved the theater, but after his education he turned to business, becoming a donut salesman. Fortunately for the future of Swedish cinema, he was a flop as a salesman, and turned to the theater, becoming an actor and then director. The Swedish film company Svenska Bio hired him and fellow stage director Mauritz Stiller to helm pictures, and from 1912-15 he directed 31 films. Only three of them survive (it is estimated that approximately 150,000 films, or 80% of the total silent-era production, has been lost). He directed Ingeborg Holm (1913), considered the first classic of Swedish cinema.
Despite the exigencies of working in an industrial art form, most Svenska Bio films of this period are embarrassments in an artistic sense--turgid melodramas, absurd romances and shaggy dog-style comedies--and there is no reason to think that the director didn't helm his share of such fare. Even taking that into account, Sjöström managed to develop a personal style. The reason he became internationally famous (and wooed by Hollywood) was the richness of his films, which were full of psychological subtleties and natural symbolism that was integrated into the works as a whole. He dealt with such major themes as guilt, redemption and the rapidly evolving place of women in society.
His 1920 film The Phantom Carriage (1921) (a.k.a. "Thy Soul Shall Bear Witness") was an internationally acclaimed masterpiece, and Goldwyn Pictures hired him to direct Name the Man! (1924) (Goldwayn was folded into Metro-Goldwyn-Mayer in 1924, where he worked until shortly after the advent of sound). Sjöström's name was changed to "Victor Seastrom" (a phonetic pronunciation in a country with limited word fonts), and he became a major American director, a pro-to David Lean, who was renowned for balancing artistic expression with a concern for what would play at the box office. His first MGM film was the Lon Chaney melodrama He Who Gets Slapped (1924). It was not only a critical success but a huge hit, getting the new studio off onto a sound footing.
He was highly respected by MGM chief Louis B. Mayer and by production head Irving Thalberg, who shared Sjöström's concerns with art that did not exclude profit. Sjöström became one of the most highly paid directors in Hollywood, reaching his peak at the end of the silent era (when the silent film reached its maturation as an art form) with two collaborations with Lillian Gish: The Scarlet Letter (1926) and "The Wind" (1926), his last masterpiece.
He departed Hollywood for Sweden after A Lady to Love (1930), returning one last time to helm Under the Red Robe (1937) for 20th Century-Fox, and although he made two movies in Sweden in the intervening years, his career as a director basically ended with the sound era. He returned to his first avocation, acting in Swedish films, in the 1930s, '40s and '50s. In his later years he was a mentor to Ingmar Bergman and gave a remarkable performance in Bergman's masterpiece "Wild Strawberries" (1957), for which he won the National Board of Review's Best Actor Award. In his professional life he was a workaholic, and in his private life was reticent about his films and his fame and remained intensely devoted to his wife Edith Erastoff and his family.
Victor Sjöström died on January 3, 1960, at the age of 80.847 points- Tore Svennberg was born on 28 February 1858 in Stockholm, Sweden. He was an actor, known for The Phantom Carriage (1921), A Woman's Face (1938) and Klostret i Sendomir (1920). He died on 8 May 1941 in Stockholm, Sweden.847 points
- Actor
- Second Unit Director or Assistant Director
- Additional Crew
Maurice Schutz was born on 4 August 1866 in Paris, France. He was an actor and assistant director, known for The Passion of Joan of Arc (1928), Vampyr (1932) and Cyrano de Bergerac (1923). He died on 22 March 1955 in Clichy-la-Garenne, Hauts-de-Seine, France.844 points- Actor
- Writer
- Director
The son of a sausage-maker, Michel Simon was conscripted into the Swiss Army at the start of World War I, but was thrown out through a combination of tuberculosis and general insubordination. He was variously a boxer, photographer, general handyman and right-wing anarchist, finally becoming a stage actor in Geneva in 1920. His reputation soon grew, and he moved to Paris in 1923, appearing in his first film in 1925 (the same year he played Boudu for the first time on stage). With the coming of sound, Simon became firmly established as one of France's outstanding character actors, doing unforgettable work for Jean Renoir (La Chienne (1931), Boudu Saved from Drowning (1932)), Jean Vigo (L'Atalante (1934)) and Marcel Carné (Port of Shadows (1938), Bizarre, Bizarre (1937)). In the 1950s he worked less frequently, partly thanks to an accident involving makeup dye that paralyzed part of his body and face. Despite this, he still managed to appear in films right up to his death in 1975.844 points- Hans Heinrich von Twardowski was born on 5 May 1898 in Stettin, Pomerania, Germany [now Szczecin, Zachodniopomorskie, Poland]. He was an actor and writer, known for The Cabinet of Dr. Caligari (1920), Hangmen Also Die! (1943) and Crown of Thorns (1923). He died on 19 November 1958 in New York City, New York, USA.839 points
- Actor
- Writer
- Director
Generally spoken of as Swedish theater's most legendary stage actor, Gösta Ekman enjoyed a prolific stage career during his short life, becoming the first real star of Swedish theater. His boyish good looks attracted both sexes, helping to create a massive cult following and elevating him to the status of a living legend. Combined with a beautiful voice and a powerful stage presence, Ekman was able to captivate his audiences.830 points- Director
- Actor
- Writer
Born in Ludwigshafen, Germany, Wilhelm Dieterle was the youngest of nine children of parents Jacob and Berthe Dieterle. They lived in poverty, and when he was old enough to work, young Wilhelm earned money as a carpenter and a scrap dealer. He dreamed of better things, though, and theater caught his eye as a teen. By the age of 16 he had joined a traveling theater company. He was ambitious and handsome, both of which opened the door to leading romantic roles in theater productions. Though he had acted in his first film in 1913, it was six more years before he made another one. In that year he was noticed by producer/director/designer/impresario Max Reinhardt, the most influential proponent of expressionism in theater; while in Berlin, Reinhardt hired him as an actor for his productions. Dieterle resumed German film acting in 1920, becoming a popular and successful romantic lead and featured character actor in the mix of German expressionist/Gothic and nature/romanticism genres that imbued much of German cinema in the silent era. He was interested in directing even more than acting, however, and he had the iconic Reinhardt to provide inspiration. Dieterle had acted in nearly 20 movies before he also began directing in 1923, his first female lead being a young Marlene Dietrich.
With his wife Charlotte Hagenbruch he started his own film production . He was said to have tired of acting; he appeared in nearly 50 films over the course of his career, mainly in the 1920s, and in several of his films he also functioned as director. As an actor he worked with some of the greatest names in German film, such as directors Paul Leni (in Waxworks (1924) [Waxworks]) and F.W. Murnau (in Faust (1926)) and actors Conrad Veidt and Emil Jannings. By 1930, however, he had emigrated to the US--now rechristened as William Dieterle--with an offer from Warner Brothers to direct their German-language versions of the studio's popular hits for the German market. In that capacity he made Those Who Dance (1930), The Way of All Men (1930) and Die heilige Flamme (1931) (aka "The Holy Flames"). He even stood before the camera for another of these, Dämon des Meeres (1931) (aka "Demon of the Sea", a version of "Moby Dick") in 1931, in which he played Capt. Ahab. The film was directed by another European who was soon to become one of Warners' most successful directors: the Hungarian Michael Curtiz.
Having taken to the Hollywood brand of filmmaking with ease--helped by his own brilliance in defining and executing the telling of a story--into 1931, he was soon promoted to directing some of Warners' "regular" films (his first, The Last Flight (1931), is now regarded as a masterwork) and he wold average directing six pictures a year for the studio through 1934. In that year Reinhardt came to the US, the Nazi threat finally having driven him off the Continent. He arrived with a flourish, ready to stage William Shakespeare's "A Midsummers Night's Dream"--an extravaganza at the Hollywood Bowl that would become legend. It was impressive enough to interest the execs of Warner Bros. They opted for a film version in 1935 with the great Reinhardt--even studio boss Jack L. Warner knew who he was--reunited with his disciple, Dieterle, as co-director. Reinhardt knew nothing about Hollywood and had to learn via Dieterle's diplomacy the differences between the overemphasis of stage and the subtlety of the camera. He learned from other directors as well about the realities of making films, in particular ratchet down the tendency that stage directors had to let their actors perform "too" much. It was all for naught, however, as the film was a major box-office flop, but it was one of the great moments in the evolution of film. Dieterle would direct Paul Muni for Warners in three first-rate bio movies: The Story of Louis Pasteur (1936), The Life of Emile Zola (1937) and Juarez (1939) and all received Oscar nominations. After that Dieterle moved on to do The Hunchback of Notre Dame (1939) at RKO with Charles Laughton as Quasimodo. This was one of Dieterle's best efforts, both in its romantic style and the great dark scenes of the Parisian medieval underworld with dramatic minimal lighting that gave vent to his expressionist roots.
Through the 1940s Dieterle moved around among Hollywood's studios, turning out vigorously wrought pictures, such as his two 1940 bios with Edward G. Robinson at Warner's. He became associated with independent producer David O. Selznick and actor Joseph Cotten, first with his direction of I'll Be Seeing You (1944). His romantic fires as a director had been restoked, as it were, and kept burning in the subsequent series of films with them which included the wonderful acting talents of Selznick's soon-to-be-wife (1949), Jennifer Jones: Love Letters (1945), Duel in the Sun (1946)--for which he shared directing but not credit with King Vidor--and the ethereal Portrait of Jennie (1948). "Jennie" was one of Dieterle's masterpieces, bringing into play a fusion of all his artistic fonts. The romantic fantasy with edges of darkness from the novel by Robert Nathan was just the vehicle to challenge Dieterle. His use of light and dark and gauzed--at one point the textured field of a painting canvas--backdrops conveyed the dreamlike state and netherworld atmosphere of the story of lovers from different times. Certainly the film influenced others to follow with similar themes.
Through the 1950s Dieterle's work--two more with Joseph Cotten--though sturdily in the director's hands, came off like good Hollywood fare, but were inspired more by the films' tight shooting schedules than by any artistic pretensions. His output during that decade was small, and that was partly due to bane of McCarthyism. He was never blacklisted as such, but his film Blockade (1938) was too libertarian to keep him completely away from the shadow of suspicion as a "socialist" / "communist" sympathizer. In 1958 he returned to Germany and directed a few films there and in Italy before retiring in 1965.
Though regrettably not as well known as his German and European directorial compatriots in Hollywood, he had great artistic style and worked with much energy in providing some of Hollywood's and the world's crown jewels of cinematic art.830 points- Actor
- Soundtrack
During World War I, Richard Arlen served in the Royal Canadian Flying Corps as a pilot, but he never saw combat. After the war he drifted round and eventually wound up in Los Angeles, where he got a job as a motorcycle messenger at a film laboratory. When he crashed into the gates of Paramount Pictures and suffered a broken leg, the studio provided prompt medical attention. Impressed by his good looks, executives also gave him a contract after he had recovered. Starting as an extra in 1925, Arlen soon rose to credited roles, but the quality of his work left much to be desired. However, he continued in films, and his big break came when William A. Wellman cast him as a pilot in the silent film Wings (1927) with Charles 'Buddy' Rogers and Clara Bow. The story of fighter aces would win the Oscar for Best Picture and Arlen would continue to play the tough, cynical hero throughout his career. Arlen appeared in three more pictures directed by Wellman, Beggars of Life (1928), Ladies of the Mob (1928) and The Man I Love (1929). In "Wings" he had a scene with a young actor named Gary Cooper. In 1929, he again worked with Cooper in the western The Virginian (1929), only this time Cooper was the star and Arlen was the supporting actor. While Arlen moved easily into sound, his career just bumped along. By 1935 he was working in such "B" pictures as Three Live Ghosts (1936). It was in 1935 that he became a freelance actor and his freelance career soon waned. In 1939, he signed with Universal and began working in its action films. In 1941 he moved to the Pine-Thomas unit at Paramount, where he appeared in adventure films. With the war on, most of his earlier films included war scenarios. By the end of the 1940s Arlen was becoming deaf and this seemed to signal the end of his career. However, he had an operation in 1949 that restored his hearing and he went on making a handful of adventures and westerns through the 1950s and working more in the 1960s. He made 15 westerns for producer A.C. Lyles, who worked with the old western stars.
Besides movies, Arlen also appeared on television and in commercials. After leaving the business in the late 1960s, he was coaxed back to the screen for three small roles in films that were released the same year that he died.829 points- T. Roy Barnes was born on 11 August 1880 in Lincolnshire, England, UK. He was an actor, known for It's a Gift (1934), Scratch My Back (1920) and Sally (1929). He was married to Blanche Berner, Mamie McNab and Bessie Crawford (actress). He died on 30 March 1937 in Hollywood, Los Angeles, California, USA.822 points
- Actor
- Soundtrack
Bernard Siegel was born on 19 April 1868 in Lemberg, Galicia, Austria-Hungary [now Lviv, Ukraine]. He was an actor, known for Laugh, Clown, Laugh (1928), Beau Geste (1926) and The Wolf (1914). He died on 9 July 1940 in Los Angeles, California, USA.819 points- Sometimes the early tragic death of a Hollywood actor can lead to immortality, as in the cases of icons James Dean and Marilyn Monroe--and, to a somewhat lesser extent, little Bobby Driscoll, who died a Skid Row bum in the streets, a victim of drug addiction. Not so for actor James Murray, whose death occurred in a similar fashion to Driscoll. Long forgotten, the young and highly insecure Murray was plucked from obscurity and given the chance of a lifetime, only to crumble ever so quickly.
He was born on February 9, 1901, in the Bronx, NY. After appearing in The Pilgrims (1924), a three-reeler made at Yale University in 1923 in which he played John Alden, he trekked 3000 miles to Hollywood to pursue that elusive Hollywood dream. On the road west, he lived a simple, rather nomadic existence as a dishwasher, coal-shoveler and boxcar rider. John started off as most do in L.A.--taking bit parts and extra work, waiting for that big break. Director King Vidor was looking to cast the somber hero of his next silent picture, The Crowd (1928). He spotted Murray, who was working as an extra at MGM, near the studio casting office and arranged a meeting with him. Murray didn't show up, either not taking the director seriously or not believing that Vidor was, in fact, King Vidor. Murray was hunted down, given a screen test and the novice actor was hired on the spot, considered by both Vidor and MGM executive Irving Thalberg to be one of the best natural actors they had ever had the good fortune to encounter. As John Sims, a common everyday kind of family man just trying to survive the game of life, Murray was frighteningly real and heart-wrenching, carrying the hugely demanding role without a hitch. He so invested himself in the part that many feel he never shook off the depressing character. The film was judged too heavy and raw for audiences to escape in, but the critics were enamored of the film and, especially Murray, and today it is considered a major masterpiece.
Murray managed to turn in solid work in the next few years, never matching his excellence in "The Crowd" but certainly turning in credible performances. Such films as The Big City (1928) with Lon Chaney, Thunder (1929)--also with Chaney--The Shakedown (1929), Bachelor Mother (1932) and Heroes for Sale (1933) served him well.
Too much too soon, perhaps, for he was ill-prepared to handle the daily pressures of stardom and his inner demons quickly took over. He turned to the bottle for solace and release. By the early 1930s he was a chronic alcoholic who could barely hold down an acting job. He turned into a derelict, living on the streets and begging for change.
By coincidence, he tried to panhandle Vidor in 1934, who offered him an acting job in his next film, Our Daily Bread (1934), but the actor vehemently refused to accept any charity. In 1936 Murray's body was fished out of the Hudson River, having drowned after either jumping from, falling from--or being thrown off of--a pier. He was only 35. Vidor was so haunted by Murray's tragic death that it provided the basis for a script he wrote which the director hoped would turn into a film called "The Actor" in 1979. Unfortunately, the project never got off the ground.818 points - Actor
- Director
- Soundtrack
Chubby silent film comic Bert Roach began on the New York stage at the age of 17. In 1911, he headlined in the two-act musical farce Louisiana Lou and then spent several years in stock as a lead tenor. Two years later, he made his screen debut at Keystone in Mack Sennett's Fatty's Magic Pants (1914). From then on, he remained busily engaged as a utility player, tallying up an impressive 350-plus acting credits. Often sporting an oversized Germanic moustache, Bert was a natural for silent slapstick. He had recurring roles in several Alice Howell vehicles at Universal in the mid-20s. In early talkies, he was employed by both Al Christie and Hal Roach (no relation) where he often showed his penchant for playing inebriates. He also had a good line in looking scared out of his wits, which he demonstrated to effect in Murders in the Rue Morgue (1932). On rare occasions, he was featured support in A-grade product like San Francisco (1936) (Freddie Duane) or The Man in the Iron Mask (1939) (Athos). For the most part, however, he was merely glimpsed in the background as nameless bartenders, stage hands, drunks and 'fat men'. Bert was one of many veteran silent comics who came together in 1947 to appear in the (inaccurate) Pearl White biopic The Perils of Pauline (1947), starring Betty Hutton.818 points- Actor
- Director
- Writer
Robert Ober was born on 10 March 1881 in Bunker Hill, Illinois, USA. He was an actor and director, known for The Big Parade (1925), Across the Atlantic (1928) and The Woman Racket (1930). He was married to Mabel Taliaferro, Maude Fulton and Ruth Boyd. He died on 7 December 1950 in New York City, New York, USA.811 points- Actor
- Director
- Writer
Sergey Komarov was born on 2 March 1891 in Vyazniki, Vyazniki uyezd, Vladimir Governorate, Russian Empire [now Vyaznikovsky District, Vladimir Oblast, Russia]. He was an actor and director, known for The Adventures of the Three Reporters (1926), Cosmic Journey (1936) and Potseluy Meri Pikford (1927). He died on 23 December 1957 in Moscow, RSFSR, USSR [now Russia].809 points- Actor
- Additional Crew
British-born Nigel De Brulier's long career began in silent films, but unlike many performers of that era, he managed to successfully transition into sound films. His authoritarian and somewhat regal bearing was perfect for the many bishops, cardinals, knights and other authority figures he often played (he portrayed Cardinal Richelieu four times: in The Three Musketeers (1921), The Three Musketeers (1935), The Iron Mask (1929) and The Man in the Iron Mask (1939)).807 points- Actor
- Writer
Bert Woodruff was the son of non-professionals Hannah R. and William A. Woodruff of Peoria, Illinois. He was married to Hattie M. Sprague. He entered the theatrical profession in 1876 in Minstrels and toured for two years as a Minstrel. Toured on the stage from 1878 until 1882, and then entered Vaudeville in Peoria, in the same house for seven years. He did an Irish act 1889-1891. He also managed theatres in Davenport, Iowa; Sheboygan, Wisconsin and in Chicago and Springfield, Illinois until 1904. He went to California that year with a Carnival company. He entered pictures in 1916 with D. W. Griffith, appearing in "Jim Bludson," "Veteran Sinners," "Children of Dust," "Flaming Gold," "The Barrier," "The Fire Brigade," "Spring Fever," "Speedy," "Masked Money" and "The Awakening." Also appeared in nine Charles Ray films and in "Song of Kentucky" in 1929.806 points- Tom McGuire was born on 1 September 1873 in Lancashire, England, UK. He was an actor, known for Steamboat Bill, Jr. (1928), City Girl (1930) and The Reckless Age (1924). He died on 6 May 1954 in Hollywood, California, USA.803 points
- Aleksandr Chistyakov was born in 1880. He was an actor, known for Konets Sankt-Peterburga (1927), Salamander (1928) and Veseley nas net (1940). He died on 31 December 1942.786 points
- James A. Marcus was born on 21 January 1867 in New York City, New York, USA. He was an actor, known for Sadie Thompson (1928), The Eagle (1925) and Oliver Twist (1922). He was married to Lillian Hathaway. He died on 15 October 1937 in Hollywood, California, USA.768 points
- Actor
- Director
- Writer
Fritz Kortner was born on 12 May 1892 in Vienna, Austria-Hungary [now Austria]. He was an actor and director, known for Pandora's Box (1929), Somewhere in the Night (1946) and The Hands of Orlac (1924). He was married to Johanna Hofer. He died on 22 July 1970 in Munich, Bavaria, West Germany.731 points- Actor
- Art Director
- Production Designer
Born in Staunton, Virginia, William Haines ran off to live life on his own terms while still in his teens, moving to New York City and becoming friends with such later Hollywood luminaries as designer Orry-Kelly and Cary Grant. His film career started slowly, but by the end of the silent era he was regularly named as the #1 male box-office draw. He also became fast friends with a number of contemporaries, such as Joan Crawford and Marion Davies, whose fame would eclipse his. His career faded rapidly in the early 1930s, and he was finally released allegedly due to a fight with MGM mogul Louis B. Mayer over Haines' refusal to end his relationship with his lover, Jimmie Shields. However, as his film career ended, his interior design career blossomed, resulting in major work for Jack L. Warner and the Bloomingdales, and culminating in the refurbishing of the American ambassador's residence in London, England. Although Haines was quite open about his homosexuality and entertained many of Hollywood's gay set - including George Cukor and Clifton Webb - his story is missing from many histories of the era. Haines and Shields remained a couple for 50 years; Crawford called them "the happiest married couple in Hollywood."717 points- Jim Mason was born on 3 February 1889 in Paris, France. He was an actor, known for A Race for Life (1928), The Penalty (1920) and All Faces West (1929). He was married to Lillian Ericson. He died on 7 November 1959 in Hollywood, California, USA.699 points
- Actor
- Soundtrack
Montague Love - certainly an intriguing name - but his own - started his working life as a newspaper man in London. His primary expertise centered on being a field illustrator and cartoonist who covered the Boer War (1899-1902). His realistic battle sketches gained him popularity among readers, but he was bound for a different career. He decided to become an actor. A robust man with a massive head of noble bearing and brooding lower lip, these were ingredients well suited to this goal. Love honed basic stage talents in London, and then made an early departure for the US in 1913 with a road-company production of Cyril Maude's "Grumpy." An early stop was Broadway, and he returned many times to appear in a laundry list of important plays from 1913 to 1934.
Silent film studios of the early days were originally based in the East, and Love started his film career at World Studios, New Jersey in 1914. His silent career alone was prodigious-nearly a hundred films. His look and bearing were perfect for authoritative figures. And, though certainly taking on a whole spectrum of roles (sultan, native chiefs, many a doctor and military officer, among many others) he became famous for his bad guy characterizations through the 1920s. Some historians credit him as the best villain of the silent era.
In 1926 he was nemesis to Rudolf Valentino in The Son of the Sheik (1926) and 'John Barrymore' in Don Juan (1926). The latter movie had the particular fame of sporting the longest sword duel in silent history between Love's Count Giano Donati and Barrymore's Don Juan. The fight filming was unique and realistic with middle and close shots looking directly at the individual combatants-with the appropriate blood in their eyes. The duel was all the more complex choreography for being one with swords and daggers (historically correct but rarely seen in film history). But Love was just as effective as the Roman centurion in The King of Kings (1927) by 'Cecil B DeMille'. Starting with Synthetic Sin (1929), Love's movies followed the trend of an increasing number of silent films using recorded music and some snatches of dialogue or background sound with the several incipient audio systems. Some movies originally issued as silent were released again with the process added. `Sin' was one of 11 films of 1929 featuring Love given the semi-sound treatment. The last of these was Jules Verne's The Mysterious Island (1929), very loosely adapted to the point of being hokey, but one of the first films also using the primitive two-color process.
Love had a commanding, puckered-lip British delivery of speech which he could believably weld to any part, but it particularly fit characters of authority, as in the silent era. Into the 1930s, these were increasingly benign rather than despotic-always colonels and generals, prime ministers, American presidents - even Zorro's father. Perhaps his best known character tour de force displaying his genuine acting power was his Henry VIII in Prince and the Pauper (1937). It is hard to forget him in purple as the Bishop of the Black Canons in The Adventures of Robin Hood (1938). Sometimes, as with other veteran character actors, his roles were almost as featured extra-but his very costumed presence was all that was needed to lend realism. A very apt example was his Detchard, noble henchmen to 'Raymond Massey', in The Prisoner of Zenda (1937), in which he has little more than one line. He was still in demand in the early 1940s - ten roles in 1940 alone. But these slowed into the war years. By his passing in 1943, an actor who was considered as noble on screen as off, he had lent his voice as well as virtuoso acting skills to eighty-one additional films.662 points- Nikolai Petrovich Batalov was born on December 6, 1899, in Moscow, Russia, into the family of a clerk. From 1910-1915 he studied at the Moscow Mercantile School named after the Czar Aleksander III. His interest in theatre and literature was supported by his grandmother, who encouraged his voracious reading. In 1916, he started his acting career at the Moscow Art Theatre under Konstantin Stanislavski and Vladimir Nemirovich-Danchenko. At the same time he worked at the MKhAT-2, where his partner and artistic director was Michael Chekhov. Nikolai Batalov's first stage work was the role of 'Petia-the bookbinder' in the play 'Zelenoe Koltso' (The Green Ring 1916) by Zinaida Gippius. His best remembered stage work was the title role in the Moscow Art Theatre's classic production 'Zhenitba Figaro', where Susanna was brilliantly played by his wife Olga Androvskaya.
He made his film debut in silent film as Gusev in Aelita, the Queen of Mars (1924) directed by Yakov Protazanov, then as Pavel Vlasov in Mother (1926) directed by Vsevolod Pudovkin, an adaptation of the eponymous book by Maxim Gorky. His leading role in the notable silent film-comedy 'Tretya meshchanskaya' (1927) by writer-director Abram Room had a significant critical and public success. At that time Batalov suffered from the onset of progressive form of tuberculosis, which interrupted his stage career, but he still worked in film. His best known film role was Nikolai Sergeiev in Road to Life (1931) directed by the Latvian writer/director Nikolai Ekk, who won the Most Convincing Director Award at the Venice Film Festival (1932). The film was produced under the leadership of Osip Brik, who introduced Nikolay Batalov to the prototype of his film character, the head of the real Russian juvenile correction colony Pogrebinsky. After this role Nikolay Batalov was awarded and received the title of the Honorable Actor of Russia in 1933.
Nikolai Batlov was suffering from the progressive form of tuberculosis. The disease limited his mobility and affected his acting career in the mid 1930s. He was undergoing the best treatment available then; he was sent to convalesce at the Russian Black Sea resort for patients with tuberculosis, but doctors still recommended that he should be treated in Europe, where tuberculosis was treated with better results. The rigid Soviet system did not allow Batalov to go abroad for the foreign medical help. He died on November 19, 1937, in Moscow.
Batalov was married to actress Olga Androvskaya (nee Schulz). She was the leading actress of the Moscow Art Theatre and also a stage partner of Batalov, and a distinguished film actress. They had a daughter, Svetlana Nikolaevna Batalova, who also became an actress of the Moscow Art Theatre (MKhAT).653 points - Actor
- Writer
By the time that he was 20, Lewis Stone had turned prematurely grey. He enlisted to fight in the Spanish American War and when he returned, he returned to be a writer. This turned to acting and he began to appear in films during the middle teens. His career was again interrupted by war as he served in the cavalry during World War I. After the war, he returned to films and quickly graduated to lead roles. With his distinguished look and grey hair, he was able to play the roles of well mannered romantic men. In 1921, Lewis starred in Don't Neglect Your Wife (1921). In the next year, he starred with Alice Terry, who played the heroine, and Ramon Novarro in The Prisoner of Zenda (1922) and Scaramouche (1923). In 1924, Metro merged into the new MGM where Lewis remained for the rest of his career. He was busy over the next few years and garnered an Academy Award nomination for The Patriot (1928). In 1928, he appeared in the first of a series of pictures with Greta Garbo. In A Woman of Affairs (1928) he played the older doctor, a friend of the family. But two years later in Romance (1930), he played her lover.
Lewis made the transition from silent to sound with The Trial of Mary Dugan (1929), which starred Norma Shearer. Sound did not cause Lewis any problems and he continued to be busy with his roles as the distinguished lead. The Big House (1930) was highly successful for MGM and he appeared in other popular movies such as The Phantom of Paris (1931) with John Gilbert and Red-Headed Woman (1932) with Jean Harlow. He appeared with Garbo in Inspiration (1931), Mata Hari (1931), Grand Hotel (1932) and Queen Christina (1933). In the late 30s he took on a role for which he was long remembered - the role of Judge James Hardy who had a son named Andy. Judge Hardy was the father audiences wanted in the late 30s early 40s. He was kind, intellectual, fair and as patient as he had to be with Andy, played by Mickey Rooney. This series occupied most of his screen time until it ended and he did slow down during the late 40s. In the 50s he continued to appear in a number of pictures including remakes of the two he had made 30 years before with Alice Terry. He suffered a heart attack and died in 1953 after appearing in over 200 films.651 points- Actor
- Producer
- Writer
Paul Hörbiger was born on 29 April 1894 in Budapest, Austria-Hungary [now Hungary]. He was an actor and producer, known for The Third Man (1949), Three Girls Around Schubert (1936) and The Gypsy Baron (1954). He was married to Josefa Gettke. He died on 5 March 1981 in Vienna, Austria.650 points- Actor
- Producer
- Soundtrack
The words "suave" and "debonair" became synonymous with the name Adolphe Menjou in Hollywood, both on- and off-camera. The epitome of knavish, continental charm and sartorial opulence, Menjou, complete with trademark waxy black mustache, evolved into one of Hollywood's most distinguished of artists and fashion plates, a tailor-made scene-stealer, if you will. What is often forgotten is that he was primed as a matinée idol back in the silent-film days. With hooded, slightly owlish eyes, a prominent nose and prematurely receding hairline, he was hardly competition for Rudolph Valentino, but he did possess the requisite demeanor to confidently pull off a roguish and magnetic man-about-town. Fluent in six languages, Menjou was nearly unrecognizable without some type of formal wear, and he went on to earn distinction as the nation's "best dressed man" nine times.
Born on February 18, 1890, in Pittsburgh, Pennsylvania, he was christened Adolphe Jean Menjou, the elder son of a hotel manager. His Irish mother was a distant cousin of novelist / poet James Joyce ("Ulysses") (1882-1941). His French father, an émigré, eventually moved the family to Cleveland, where he operated a chain of restaurants. He disapproved of show business and sent an already piqued Adolphe to Culver Military Academy in Indiana in the hopes of dissuading him from such a seemingly reckless and disreputable career. From there Adolphe was enrolled at Stiles University prep school and then Cornell University. Instead of acquiescing to his father's demands and obtaining a engineering degree, however, he abruptly changed his major to liberal arts and began auditioning for college plays. He left Cornell in his third year in order to help his father manage a restaurant for a time during a family financial crisis. From there he left for New York and a life in the theater.
Adolphe toiled as a laborer, a haberdasher and even a waiter in one of his father's restaurants during his salad days, which included some vaudeville work. Oddly enough, he never made it to Broadway but instead found extra and/or bit work for various film studios (Vitagraph, Edison, Biograph) starting in 1915. World War I interrupted his early career, and he served as a captain with the Ambulance Corps in France. After the war he found employment off-camera as a productions manager and unit manager. When the New York-based film industry moved west, so did Adolphe.
Nothing of major significance happened for the fledgling actor until 1921, an absolute banner year for him. After six years of struggle he finally broke into the top ranks with substantial roles in The Faith Healer (1921) and Through the Back Door (1921), the latter starring Mary Pickford. He formed some very strong connections as a result and earned a Paramount contract in the process. Cast by Mary's then-husband Douglas Fairbanks as Louis XIII in the rousing silent The Three Musketeers (1921), he finished off the year portraying the influential writer/friend Raoul de Saint Hubert in Rudolph Valentino's classic The Sheik (1921).
Firmly entrenched in the Hollywood lifestyle, it took little time for Menjou to establish his slick prototype as the urbane ladies' man and wealthy roué. Paramount, noticing how Menjou stole scenes from Charles Chaplin favorite Edna Purviance in Chaplin's A Woman of Paris: A Drama of Fate (1923), started capitalizing on Menjou's playboy image by casting him as various callous and creaseless matinée leads in such films as Broadway After Dark (1924), Sinners in Silk (1924), The Ace of Cads (1926), A Social Celebrity (1926) and A Gentleman of Paris (1927). His younger brother Henri Menjou, a minor actor, had a part in Adolphe's picture Blonde or Brunette (1927).
The stock market crash led to the termination of Adolphe's Paramount contract, and his status as leading man ended with it. MGM took him on at half his Paramount salary and his fluency in such languages as French and Spanish kept him employed at the beginning. Rivaling Gary Cooper for the attentions of Marlene Dietrich in Morocco (1930) started the ball rolling for Menjou as a dressy second lead. Rarely placed in leads following this period, he managed his one and only Oscar nomination for "Best Actor" with his performance as editor Walter Burns in The Front Page (1931). Not initially cast in the role, he replaced Louis Wolheim, who died ten days into rehearsal. Quality parts in quality pictures became the norm for Adolphe during the 1930s, with outstanding roles given him in The Great Lover (1931), A Farewell to Arms (1932), Forbidden (1932), Little Miss Marker (1934), Morning Glory (1933), A Star Is Born (1937), Stage Door (1937) and Golden Boy (1939).
The 1940s were not as golden, however. In addition to entertaining the troops overseas and making assorted broadcasts in a host of different languages, he did manage to get the slick and slimy Billy Flynn lawyer role opposite Ginger Rogers' felon in the "Chicago" adaptation Roxie Hart (1942), and continued to earn occasional distinction in such post-WWII pictures as The Hucksters (1947) and State of the Union (1948). His last lead was in the crackerjack thriller The Sniper (1952), in which he played an (urbane) San Francisco homicide detective tracking down a killer who preys on women in San Francisco, and he appeared without his mustache for the first time in nearly two decades. Also active on radio and TV, his last notable film was the classic anti-war picture Paths of Glory (1957) playing the villainous Gen. Broulard.
Adolphe's extreme hardcore right-wing Republican politics hurt his later reputation, as he was made a scapegoat for his cooperation as a "friendly witness" at the House Un-American Activities Commission hearing during the Joseph McCarthy Red Scare era. Following his last picture, Disney's Pollyanna (1960), in which he played an uncharacteristically rumpled curmudgeon who is charmed by Hayley Mills, he retired from acting. He died after a nine-month battle with hepatitis on October 29, 1963, inside his Beverly Hills home. Three times proved the charm for Adolphe with his 1934 marriage to actress Verree Teasdale, who survived him. The couple had an adopted son named Peter. His autobiography, "It Took Nine Tailors" (1947), pretty much says it all for this polished, preening professional.649 points- Actor
- Writer
- Soundtrack
On stage since age 15, Roscoe Karns parlayed his machine-gun delivery and street-wise demeanor (although many thought of him as a New Yorker, he was actually from San Bernardino, California) into character roles in dozens of films from the 1920s to the 1960s. His peak period, though, was in the 1930s, where he often played a wisecracking cab driver or a brash newspaper reporter (as in His Girl Friday (1940), usually the friend of the hero who helps him solve the murder/catch the bad guys/find the missing heiress, etc.645 points- Gibson Gowland was born on 4 January 1877 in Spennymoor, Durham, England, UK. He was an actor, known for Greed (1924), Blind Husbands (1919) and The Phantom of the Opera (1925). He was married to Rachelle Marie Gertrude Dervaes (pianist/actress) and Sylvia Andrew. He died on 9 September 1951 in London, England, UK.644 points
- George Bancroft was raised in Philadelphia and attended high school at Tomes Institute (Philadelphia). He won an impressive appointment to the United States Naval Academy at Annapolis and graduated as a commissioned officer. He served in the Navy for the prescribed period of required service but no more. He decided to turn to show business, first as a theater manager. He worked in the old and fading minstrel show variety format into the 1920s but then decided to try his hand at acting. By 1923, he was good enough for Broadway and spent about a year there doing two plays. But he was already good enough for some early camera work for by 1921, so he had made his first appearance in the silent movie medium. Being a big man with dark features, he was a natural for heavies. And it seemed that early Westerns were an easy fit as well after his first four films. Through 1924 and into 1925, he did four, culminating with pay dirt in his appealing performance as rogue Jack Slade in the James Cruze Western The Pony Express (1925). With him was another up-and-coming character actor, Wallace Beery. Bancroft's acting made Paramount Pictures take a look at him as star material. His roles as tough guy took on more flesh into the later 1920s, especially in association with director Josef von Sternberg and his well-honed gangster films that started with Underworld (1927). Their work culminated with Sternberg's Thunderbolt (1929) for which Bancroft received an Oscar nomination. He was tops at the box office.
Bancroft's various on-screen personas as bigger-than-life strong man was not far from his off-screen character as Hollywood notability got to him. It was recalled that he became more difficult to deal with as his ego grew. At one point, he refused to obey a director's order that he fall down after being shot by the villain. Bancroft declared, "One bullet can't kill Bancroft!" Although he stayed busy through the 1930s, he was older and stouter -- the stuff of featured characters. And Bancroft was also getting a lot of competition from younger character actors. In the early '30s, his roles continued to typecast him as lead heavies, but increasingly, he was cast as second tier -- if with more variety -- in later roles. He was paper editor MacWade in Mr. Deeds Goes to Town (1936); a doctor in A Doctor's Diary (1937); a few sea captains along the way; and most memorably Marshal Curly Wilcox in the John Ford Western (his first with sound) Stagecoach (1939). Here he is particularly engaging tough lawman but with a big heart. Into the 1940s, he only did a handful of films. But he again had a rogue's spotlight with another name director -- Cecil B. DeMille -- in one of his always epic yarns. This time it was a Texas Ranger chasing a murderer over the Canadian border in North West Mounted Police (1940) with a stellar cast including Gary Cooper, everybody's favorite blond Madeleine Carroll, and Paulette Goddard as fleeing criminal, Jacques Corbeau's (Bancroft) daughter. By 1942, Bancroft had decided to move on, retiring with the intention of becoming a Southern California rancher. He quietly assumed this new role for a long run of 14 years before his passing.628 points - Actor
- Director
- Second Unit Director or Assistant Director
If ever there was a Great Dane in Hollywood it was Jean Hersholt - and one of its great hearts as well. He was from a well-known Danish stage and entertainment family that had toured throughout Europe performing with young Jean as an essential cast member. He graduated from the Copenhagen Art School and continued expanding his stage experience and evidently decided early that he wanted to work in films. He did just two very early (1906) silent films in Germany. Hersholt emigrated from Denmark to the US while still a young man in 1913. Like many another European he came to America to seek further opportunities. Unlike many other European actors who appeared on Broadway in their early American careers, Hersholt never trod The Great White Way. He moved on to Hollywood in 1914 where the future of silent movies had taken the lead. He started as a movie extra then progressed into small feature player roles from 1915 through 1917. For that latter year he had no less than 17 bit parts.
By the 1920s his roles were substantial feature pieces, but most of these were as villains - in fact, a concoction of really vile characters. His theater experience serving him well, he played them so well that he much sought after by directors. Several of his 1920s films were landmarks of the silent era, an early one being The Four Horsemen of the Apocalypse (1921) which helped propel Rudolf Valentino into the stellar heights. Hersholt became popular and well paid. And certainly his signature silent role was the lead character of Marcus Schouler in the Erich von Stroheim great film Greed (1924), based on the novel McTeague. Stroheim, who spent far more time in front of the camera as an actor, was already well know as a task master and perfectionist director. He went through 42 reels of film for the picture - a numbing nine hours of screen time (shown only once at that length in a private studio screening). He cut the film to five hours, but it was further whittled to a bit over two for release, causing Stroheim to quip bitterly of the editor, "The only thing he had on his mind was his hat!" The powerful film was still there, but the massive editing resulted in whole roles disappearing, not to mention some telltale continuity. Stroheim's need for realism resulted in the climax of the movie to be shot in Death Valley. Still hot in the fall time, Hersholt endured like a veteran but required a hospital stay after sweating away 27 pounds.
Fortunately into the later 1920s Hersholt's roles expanded into a more realistic balance of characters-more virtuous roles - but still some shady fellows and especially the unsuspected, and thus surprising, guilty party in the ever popular murder mysteries. He worked for Samuel Goldwyn for about a year (1923-1924), for Paramount from 1927 through 1929, and several other studios during the period. By the end of the silent era, including those early primitive part mono features with small bits of audio music, sound effects, or dialog, Hersholt was a tried veteran of 75 films. His first all mono sound film was The Climax (1930) and despite a Germanic accent, he had a pleasant, mellow voice and a camera friendly presence that ensured him continued success. The variety ran the gamut from a sturdy supporting part in Grand Hotel (1932), to supporting Boris Karloff and a pretty hot Myrna Loy in The Mask of Fu Manchu (1932), and doing the same in Dinner at Eight (1933). Busy with nine movies in 1930, he also moved into people's living rooms on radio as well during that year.
Of course, for some time Hersholt was a mature actor-simply meaning he had many secondary roles as doctors and professors and nobles of many sorts and increasingly he appeared as benign fatherly types. Father roles of the 20s continued into the 30s - augmented with grandfather roles as well. He was the father of Sonja Henie in that charismatic champion ice skater's first Hollywood film One in a Million (1936), and he is perhaps best remembered as the embittered but deeply caring grandfather of Shirley Temple in the beloved Heidi (1937). But it was another role as a doctor that would provide a continuing vehicle for Hersholt and something of a fateful direction for the actor. The mid-30s were abuzz with the births of the Dionne Quintuplets in Canada. Hollywood jumped on it with usual alacrity, highlighting the story and the officiating obstetrician, Dr. Dafoe, who was translated into Dr. John Luke, in The Country Doctor (1936). Hersholt brought the right ingredients to the part of Luke and two years later a sequel followed, Five of a Kind (1938). Hersholt thought the character good medicine all round and was enthusiastic about a series of movies, but Dafoe himself blocked this idea. Nevertheless, in 1937 Hersholt had already germinated a new radio series to continue portraying a dedicated and kindly small town doctor. For a character name Hersholt turned to his most beloved author, his countryman, literary light Hans Christian Andersen, for a name-Dr. Christian. It was a hit and, and he convinced RKO Radio Pictures to bankroll a series of six Dr. Christian films (1939-41).
These latter and a few other films would mark the end of Hersholt's film career, but he was so very busy otherwise. His familiarity with Andersen was a scholarly avocation and labor of love, furthered by enthusiastic collecting of a library of important Andersen editions and related bibliography (which would later go to the Library of Congress). His English translation (see Trivia below) of the Andersen corpus of fairy tales (including his addition of several other Andersen stories from the author's private papers) remains perhaps the most comprehensive and best effort-even more so for Hersholt personal interpretation of Andersen. Hersholt would also write several articles about Andersen and edit The Andersen-Scudder-Letters (1948). Among other literary pursuits Hersholt also co-wrote a novel based on his Dr. Christian character.
It was in Hersholt's generous nature to give back something in gratitude for the acting career afforded him in Hollywood. His payment was rich indeed: the Motion Picture Relief Fund, the retirement home and hospital inspired by it and generated from it (see Trivia below), and the great charitable work that Hersholt would perform were paid back with two Academy Awards, the second after his tenure as president of the Academy. These special honors would be the seed of the Jean Hersholt Humanitarian Award (see Trivia below). But in 1956 Hersholt was dying of cancer - and yet that would not stop him from one more good turn. His beloved Dr. Christian character was going to TV (produced by the Ziv Studios), and he was asked to symbolically pass the baton to the new Dr. Christian, Macdonald Carey. With a tremendous effort, Hersholt, now withered to 95 pounds braved the first episode shooting, capping his life with one last magnificent example of his humanity.625 points- Actor
- Additional Crew
A noted stage actor at the turn of the 20th century, Robert Edeson began his film career working with Cecil B. DeMille on The Call of the North (1914), then moved on to Vitagraph where he remained for the rest of the teens. In the 1920s he returned to work for De Mille, playing the man-of-the-world type roles. Married to actress Mary Newcomb, Edeson died of heart failure.586 points- Actor
- Soundtrack
This eminently recognizable, bulbous, beetle-browed character actor left Culver Military Academy and began acting in repertory companies before becoming a Hollywood extra and stunt man. Eugene's father had also been a thespian at one time but eventually ended his career as an insurance salesman. In his younger days, Eugene was apparently of the more slender build since he once managed to hold down a job as a jockey! He spent in total six years with touring companies, briefly worked as a streetcar conductor in Portland and finally found his way to motion pictures. By his own account, he began in films on the East Coast around 1910 or 1911, gravitating to Hollywood by 1913 and appeared in some 100 productions each year for the first four years of his tenure. The majority of this prodigious output was undoubtedly made up of one-reel shorts. Eugene initially played leads in silent feature films and was described as relatively athletic by the time he appeared in D.W. Griffith's The Birth of a Nation (1915) and Intolerance (1916). His career was put on hold while he served with the Flying Corps during the First World War, but just a couple of years after his return to films he started to turn into a compulsive gourmand. His vast appetite for food increased his girth manifold and he steadfastly refused to go on a diet. Consequently, he found himself demoted to supporting roles but still managed to make a decent living out of his unusual appearance and his trademark gravelly bullfrog voice. Sometime in the early 1920s, he began to dabble in Texas oil and first amassed and then lost a fortune within the space of a year.
Eugene remained gainfully employed all through the '20s, '30s, and '40s. He played Aramis to Douglas Fairbankss's D'Artagnan in The Three Musketeers (1921) and appeared as a Hal Roach contract player in the classic Laurel & Hardy short The Battle of the Century (1927). In talkies, he was the truculent police sergeant Heath in five installments of the Philo Vance series at Paramount, starring William Powell. When not used as pinstripe-suited authority figures or Runyonesque characters (Nicely-Nicely Johnson in The Big Street (1942)), he was always diverting in screwball comedies, notably in My Man Godfrey (1936) and Topper (1937). A truly versatile, his gallery of characters ranged from garrulous and witty and ingratiating, to brooding loners, from avuncular to cantankerous. Under contract at Warners, he proved to be the very best ever incarnation of Friar Tuck in The Adventures of Robin Hood (1938) and followed this with another priestly effort as Father Felipe in The Mark of Zorro (1940).
Near the end of World War II, Eugene and a business partner acquired a 3500-acre estate and ranch along the Imnaha River in remote Wallowa County, Oregon, complete with a fallout shelter. Allegedly, he lived the life of a semi-recluse for the next four years, anticipating a nuclear attack by stockpiling all manner of essential items in order to become fully self-sufficient. The aforementioned business partner later denied this as a rumor, implying that the ranch was merely a place where Eugene entertained his actor friends (some came to hunt and fish). Whether true or not, Eugene was ultimately forced to sell the property in 1949 due to ill-health (throat cancer, as it turned out). He made his final return to the screen at Poverty Row studio Monogram in Suspense (1946), rounding out his career with a minor film noir set in the skating rink, starring the 'Ice Maiden' Belita. Eugene died eight years later in Los Angeles at the age of 65.584 points- Actor
- Soundtrack
Roy D'Arcy was born Roy Giusti in San Francisco in 1894 but educated in Europe. For a while he traveled with a band of gypsies throughout the Continent, but left to study art and painting in Paris. After several years of traveling and various business ventures in South America and Asia he returned to the US and decided to become involved in the theater. He got a job as a singer in several touring theatrical companies, and in 1919 made his film debut in Oh Boy! (1919) in a role he had played on the stage. He spent some time in vaudeville as a monologist, and took his act to Europe and Asia. When he returned to the US he was performing his show on a Los Angeles stage when he was spotted by director Erich von Stroheim, who though D'Arcy was just right for the part of the villainous, arrogant Prince Mirko in The Merry Widow (1925) (Von Stroheim had wanted to play the part himself, but was forbidden from doing so by MGM production head Irving Thalberg). It was a troubled production - from which Von Stroheim was fired, brought back, then fired again - but the film was a great critical and financial success, and D'Arcy received rave reviews for his superb portrayal of the cruel, dissolute Mirko.
Because of the success of that film, D'Arcy was thrown into several other productions as the head villain, such as Graustark (1925), La Bohème (1926) and The Temptress (1926), but he also appeared in such comedies as Adam and Evil (1927) and On Ze Boulevard (1927). He developed a revue he took to Broadway in 1928, called "The Greatest Array of Talent Ever Assembled on Any Bill in This Country", which consisted of singers, dancers, and D'Arcy himself walking out into the audience and telling stories of his travels around the world.
D'Arcy easily made the transitions from silents to talkies, and played a succession of exotic foreigners, both villainous and otherwise. However, as acting styles changed because of the introduction of sound, D'Arcy's somewhat florid style went out of fashion, and in a few years he was reduced to doing small, low-budget pictures for lower-rung independent studios, such as Broadway to Cheyenne (1932) for Monogram and Discarded Lovers (1932) for Tower Pictures. He had a showier role in a serial for Mascot, The Shadow of the Eagle (1932), starring a young John Wayne, and in his second serial, The Whispering Shadow (1933) with Bela Lugosi, he seemed to be having a ball as an executive in a trucking firm suspected of being responsible for the company's trucks being constantly hijacked.
Over the next few years he played villainous roles in a number of low-budget productions (Revolt of the Zombies (1936), Captain Calamity (1936), Under Strange Flags (1937)), but his final film was a major one, the Ginger Rogers/Fred Astaire musical The Story of Vernon and Irene Castle (1939), after which he retired. He then started his own real estate business. He died in 1969.578 points- Actor
- Soundtrack
Gray was known in the film business as a dependable "player" and to the public as a doting son. Throughout his Hollywood career he lived with his parents or his mother until his marriage in 1935. Built the home he shared with his parents, Henry and Mamie Gray. Henry died in 1932, Larry continued to share a home with his mother until Dolores Del Rio introduced him to Maria Luisa Figueroa and a "romance blossomed into an engagement." (Los Angeles Times. August 8, 1935)578 points- Albert Steinrück was born on 20 May 1872 in Wetterburg, Bad Arolsen, Hesse, Germany. He was an actor, known for Asphalt (1929), Helen of Troy (1924) and Der Richter von Zalamea (1920). He died on 10 February 1929 in Berlin, Germany.577 points
- Actor
- Director
- Soundtrack
Alan Hale decided on a film career after his attempt at becoming an opera singer didn't pan out. He quickly became much in demand as a supporting actor, starred in several films for Cecil B. DeMille and directed others for him. With the advent of sound, Hale played leads in a few films but soon settled down into a career as one of the busiest character actors in the business. He was one of the featured members of what became known as the "Warner Brothers Stock Co.", a corps of character actors and actresses who appeared in scores of Warner Bros. films of the 1930s and 1940s. Hale's best-known role is probably in The Adventures of Robin Hood (1938), one of several films he made with his friend Errol Flynn, in which he played Little John, a role he played in two other films: Robin Hood (1922) and Rogues of Sherwood Forest (1950).573 points- Actor
- Producer
- Writer
British leading man of primarily American films, one of the great stars of the Golden Age. Raised in Ealing, the son of a successful silk merchant, he attended boarding school in Sussex, where he discovered amateur theatre. He intended to attend Cambridge and become an engineer, but his father's death cost him the financial support necessary. He joined the London Scottish Regionals and at the outbreak of World War I was sent to France. Seriously wounded at the battle of Messines--he was gassed--he was invalided out of service scarcely two months after shipping out for France. Upon his recovery he tried to enter the consular service, but a chance encounter got him a small role in a London play. He dropped other plans and concentrated on the theatre, and was rewarded with a succession of increasingly prominent parts. He made extra money appearing in a few minor films, and in 1920 set out for New York in hopes of finding greater fortune there than in war-depressed England. After two years of impoverishment he was cast in a Broadway hit, "La Tendresse". Director Henry King spotted him in the show and cast him as Lillian Gish's leading man in The White Sister (1923). His success in the film led to a contract with Samuel Goldwyn, and his career as a Hollywood leading man was underway. He became a vastly popular star of silent films, in romances as well as adventure films. The coming of sound made his extraordinarily beautiful speaking voice even more important to the film industry. He played sophisticated, thoughtful characters of integrity with enormous aplomb, and swashbuckled expertly when called to do so in films like The Prisoner of Zenda (1937). A decade later he received an Academy Award for his splendid portrayal of a tormented actor in A Double Life (1947). Much of his later career was devoted to "The Halls of Ivy", a radio show that later was transferred to television The Halls of Ivy (1954). He continued to work until nearly the end of his life, which came in 1958 after a brief lung illness. He was survived by his second wife, actress Benita Hume, and their daughter Juliet Benita Colman.558 points- Paul Richter was born on 1 April 1895 in Vienna, Austria-Hungary [now Austria]. He was an actor, known for The Ringer (1932), Dr. Mabuse, the Gambler (1922) and Die Nibelungen: Siegfried (1924). He was married to Elisabeth Hölzl and Aud Egede-Nissen. He died on 30 December 1961 in Vienna, Austria.545 points
- Uno Henning was born on 11 May 1895 in Stockholm, Sweden. He was an actor, known for Damen med kameliorna (1925), The Love of Jeanne Ney (1927) and Ödets man (1924). He was married to Ragni Frisell. He died on 16 May 1970 in Stockholm, Sweden.542 points
- Actor
- Second Unit Director or Assistant Director
Henry B. Walthall was a respected stage actor who became a favorite of pioneering film director D.W. Griffith. Born in 1878 in Alabama, Walthall embarked on a law career but quit law school in 1898 to enlist in the US Army in order to fight in the Spanish-American War. Returning from the war he decided to take up an acting career instead of the law, and traveled to New York City to make his mark on Broadway. He debuted on the Great White Way in 1901. His friend and fellow actor James Kirkwood introduced him to Griffith, who already knew of Walthall's reputation as a stage actor. He hired Walthall to appear in his A Convict's Sacrifice (1909), the first of many films they would make together. Griffith, like Walthall a Southerner, cast him as "the little colonel" in his epic The Birth of a Nation (1915).
Shortly afterward Walthall left Biograph and Griffith for Balboa Pictures in Long Beach, CA. In 1917 he and his wife formed their own production company, but after a few films he went back to work for Griffith at Biograph. However, his career went on a downward spiral, and by the 1920s he was appearing in mostly low-budget "B" fare, with only a few side journeys into more quality "A" pictures--Tod Browning's London After Midnight (1927) among them.
The sound period rejuvenated Walthall's career somewhat. He had a distinguished bearing and his voice, unlike those of many bigger silent-screen stars, was perfectly acceptable for talkies. He appeared in such productions as John Ford's Judge Priest (1934) and Browning's The Devil-Doll (1936). He was hired by director Frank Capra to play the High Lama in Capra's production of Lost Horizon (1937), but before the film began production he died of influenza, on June 7, 1936.503 points- Actor
- Soundtrack
An All-American halfback while attending the University of Alabama, Johnny Mack Brown chose the silver screen over the green grass of the football field when he graduated. Signed to a contract with MGM in 1926, Brown debuted in Slide, Kelly, Slide (1927) with William Haines in a film about - baseball. This was followed by The Bugle Call (1927), which starred the fading Jackie Coogan. In 1928 he appeared in the last Norma Shearer silent film, A Lady of Chance (1928). After that, he worked with Greta Garbo, Marion Davies and Mary Pickford. His muscular good looks only carried him so far in films, however, and by 1930 he had yet to find his place. At MGM Clark Gable was taking the roles that Brown was up for, so he went into a western for director King Vidor, Billy the Kid (1930). While Vidor did not want him for the part to begin with, the picture was successful; however, Brown's career at MGM soon ended. By 1933 he was still making westerns, but they were for low-rung studios like Mascot. More westerns at even lower-rung Supreme Pictures followed, as well as serials like Wild West Days (1937) at Universal. In 1943 Brown took his boots over to Monogram Pictures, where he made over 60 westerns. He started off as "Nevada Jack McKenzie" in the Rough Riders series, but the name soon changed to Johnny. As with most of the early cowboy stars, he was a hero to millions of young children and consistently among the top ten money-makers in westerns from 1942-50. The bubble burst, though, just as it did for Allan Lane, in 1953, as the days of the "B" western came to an end.495 points- Prolific "heavy" in American films of the silent and early talkie eras. A native of Kansas City, Missouri, Kohler left home as a teenager, working various jobs while trying to establish a career in vaudeville. During this time, according to his son, actor Fred Kohler Jr., Kohler worked in a mine and lost part of his right hand in a dynamite accident. Eventually he fell in with a touring theatrical company and worked onstage around the U.S. for several years. In his mid-twenties, he ended up in California and found roles in silent films. He quickly found a niche as a villain, by virtue of his imposing size and his fearsome features, typically and most memorably in The Iron Horse (1924). He worked primarily in Westerns, but films of all sorts benefited from his skill at screen nastiness. In a series of silent Paramount Westerns based on Zane Grey novels, Kohler not only played the heavy, but also repeated some of those roles when these films were remade as talkies a decade later. His career lasted without let-up until his sudden death due to a heart attack at 51 in 1938.441 points
- Actor
- Stunts
- Producer
Born to Alice Cooper and Charles Cooper. Gary attended school at Dunstable school England, Helena Montana and Grinnell College, Grinnell, Iowa (then called Iowa College). His first stage experience was during high school and college. Afterwards, he worked as an extra for one year before getting a part in a two-reeler by the independent producer Hans Tiesler . Eileen Sedgwick was his first leading lady. He then appeared in The Winning of Barbara Worth (1926) for United Artists before moving to Paramount. While there he appeared in a small part in Wings (1927), It (1927), and other films.439 points- Actor
- Director
- Writer
Born in London, England to Charlotte Mary (opera singer) and George Alfred Brook. He was educated privately. Stage experience included: "Oliver Twist", "Voysey Inheritence", "If I were King", "Importance of Being Ernest", Fair and Warmer", "Over Sunday", "Clothes and the WOman", and many others. Screen experience with Graham-Cutts Company in London. He appeared in "Woman to Woman", and others. In 1924 he came to America.401 points- Actor
- Soundtrack
Willy Fritsch was born on 27 January 1901 in Kattowitz, Upper Silesia, Germany [now Katowice, Slaskie, Poland]. He was an actor, known for Woman in the Moon (1929), Inglourious Basterds (2009) and Amphitryon (1935). He was married to Dinah Grace. He died on 13 July 1973 in Hamburg, Germany.401 points- Gustav Diessl was an Austrian artist, film and stage actor. He studied art, painting and sculpture in Vienna. From 1921 he worked in Berlin as an actor for G.W. Pabst in his silent film, "Abgründe" (1928). In 1929 he played in The White Hell of Pitz Palu (1929) ("The White Hell of Pitz Palu"). After that he became famous in USA, but returned to Germany after making only one film in Hollywood. He also played in Italian films. After a short-lived first marriage, he cohabited with Camilla Horn for a couple of years, but in 1938 he married opera star Maria Cebotari, with who he had two sons; one of them lives today in England and the other one in New Zealand. Gustav Diessl died, much too young,in Vienna.401 points
- Bernhard Goetzke was born on 5 June 1884 in Danzig, West Prussia, Kingdom of Prussia, Germany [now Gdansk, Poland]. He was an actor, known for Salamander (1928), Dr. Mabuse, the Gambler (1922) and Die Nibelungen: Siegfried (1924). He died on 7 October 1964 in West Berlin, West Germany.400 points
- Francis X. Bushman Jr. was born on 1 May 1903 in Baltimore, Maryland, USA. He was an actor, known for The Three Musketeers (1933), Spell of the Circus (1930) and Dangerous Traffic (1926). He was married to Beatrice Margaret Danti. He died on 16 April 1978 in Los Angeles, California, USA.399 points
- Hans Adalbert Schlettow was born on 11 June 1887 in Frankfurt am Main, Germany. He was an actor, known for Dr. Mabuse, the Gambler (1922), Die Nibelungen: Siegfried (1924) and Volga Volga (1928). He died on 30 April 1945 in Berlin, Germany.397 points
- Semyon Svashenko was born on 1 September 1904 in Dergachi, Kharkov Governorate, Russian Empire [now Derhachi, Kharkiv Oblast, Ukraine]. He was an actor, known for Shturmovye nochi (1931), Quiet Flows the Don (1957) and Tikhiy Don II (1958). He died on 23 November 1969 in Moscow, RSFSR, USSR [now Russia].397 points
- Actor
- Director
- Writer
Lloyd Ingraham was born on 30 November 1874 in Rochelle, Illinois, USA. He was an actor and director, known for Intolerance (1916), At the Sign of the Jack O'Lantern (1922) and Man's Desire (1919). He was married to Maude May Plopper and Blanche M. Stoddard. He died on 4 April 1956 in Woodland Hills, Los Angeles, California, USA.394 points- Actor
- Producer
- Soundtrack
Life companion was the actress Hansi Burg. Their relationship started in 1925. They separated in 1935 due to the pressure of the German Nazi government. In 1938 she went into exile in Switzerland (later London). Shortly after this she married the Norwegian Erich Blydt. Burg returned to Germany and Albers in 1946. They lived together until his death 1960. She died 15 years later.394 points