2000s TCM Remembers
These are TCM Remembers from 2000 to 2009
2000: 1 - 42
2001: 43 - 76
2002: 77 - 112*
2003: 113 - 149
2004: 150 - 184
2005: 185 - 223
2006: 224 - 268
2007: 269 - 312
2008: 313 - 377
2009: 378 - 424
*My revision
2000: 1 - 42
2001: 43 - 76
2002: 77 - 112*
2003: 113 - 149
2004: 150 - 184
2005: 185 - 223
2006: 224 - 268
2007: 269 - 312
2008: 313 - 377
2009: 378 - 424
*My revision
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- Actor
- Producer
- Production Manager
Although he appeared in approximately 100 movies or TV shows, Douglas Fairbanks, Jr. never really intended to take up acting as a career. However, the environment he was born into and the circumstances naturally led him to be a thespian. Noblesse oblige.
He was born Douglas Elton Fairbanks, Jr. in New York City, New York, to Anna Beth (Sully), daughter of a very wealthy cotton mogul, and actor Douglas Fairbanks (born Douglas Elton Thomas Ullman), then not yet established as the swashbuckling idol he would become. Fairbanks, Jr. had German Jewish (from his paternal grandfather), English, and Scottish ancestry.
He proved a gifted boy early in life. To the end of his life he remained a multi-talented, hyperactive man, not content to appear in the 100 films mentioned above. Handsome, distinguished and extremely bright, he excelled at sports (much like his father), notably during his stay at the Military Academy in 1919 (his role in Claude Autant-Lara's "L'athlète incomplete" illustrated these abilities). He also excelled academically, and attended the Lycéee Janson de Sailly in Paris, where he had followed his divorced mother. Very early in his life he developed a taste for the arts as well and became a painter and sculptor. Not content to limiting himself to just one field, he became involved in business, in fields as varied as mining, hotel management, owning a chain of bowling alleys and a firm that manufactured popcorn. During World War II he headed London's Douglas Voluntary Hospital (an establishment taking care of war refugees), was President Franklin D. Roosevelt's special envoy for the Special Mission to South America in 1940 before becoming a lieutenant in the Navy (he was promoted to the rank of captain in 1954) and taking part in the Allies' landing in Sicily and Elba in 1943. A fervent Anglophile, was knighted in 1949 and often entertained Queen Elizabeth II and Prince Philip in his London mansion, "The Boltons".
His film career began at the age of 13 when he was signed by Paramount Pictures. He debuted in Stephen Steps Out (1923) but the film flopped and his career stagnated despite a critically acclaimed role in Stella Dallas (1925). Things really picked up when he married Lucille Le Sueur, a young starlet who was soon to become better known as Joan Crawford. The young couple became the toast of the town (one "Screen Snapshots" episode echoes this sudden glory) and good parts and success followed, such as the hapless partner of Edward G. Robinson in Little Caesar (1931) a favorably reviewed turn as the villain in The Prisoner of Zenda (1937) or more debonair characters in slapstick comedies or adventure yarns. The 1930s were a fruitful period for Fairbanks, his most memorable role probably being that of the British soldier in Gunga Din (1939); although it was somewhat of a "swashbuckling" role, Fairbanks made a point of never imitating his father. After the World War II, his star waned and, despite a moving part in Ghost Story (1981), he did not appear in a major movie. Now a legend himself, Douglas Fairbanks Jr. left this world with the satisfaction of having lived up to the Fairbanks name at the end of a life nobody could call "wasted".- Nancy Coleman was born on 30 December 1912 in Everett, Washington, USA. She was an actress, known for The Gay Sisters (1942), Her Sister's Secret (1946) and Devotion (1946). She was married to Whitney Bolton. She died on 18 January 2000 in Brockport, Monroe County, New York, USA.
- Actress
- Soundtrack
Born in New York City, Rose Hobart responded to the lure of the theater at a young age, went on stage at 15, then drifted to Hollywood and embarked on a movie career. Hobart film-debuted in the 1930 Fox version of "Liliom" and went on to appear in over 40 additional films, both in the A and B category. But by the late 1940s, her political views and pro-union stance caused her to be blacklisted. After a period of inactivity, she returned to acting in the 1960s on TV's Peyton Place (1964). For many years she resided at the Motion Picture and Television Country House, not far from Hollywood, where she enjoyed editing the House Newsletter.- Muriel Evans was born on 20 July 1910 in Minneapolis, Minnesota, USA. She was an actress, known for Call of the Prairie (1936), Three on the Trail (1936) and Manhattan Melodrama (1934). She was married to Marshall R. Worcester and Michael Cudahy. She died on 26 October 2000 in Woodland Hills, Los Angeles, California, USA.
- Actor
- Writer
Handsome bodybuilder Steve Reeves certainly had an enviable Herculean physique, and made plenty good use of it in Europe during the late 1950s and early 1960s portraying some of filmdom's most famous bronzed gods. Reeves was originally a Montana boy born on a cattle ranch in 1926. His destiny was revealed early in the game when, at the age of six months, he won his first fitness title as "Healthiest Baby of Valley County." His father Lester died in a farming accident when Steve was just a boy, and his family moved to Oakland (California). He first developed an interest in bodybuilding while in high school.
Steve joined the Army in his late teens where his job was loading boxcars and trucks. He also worked out loyally at the gym during his free time and the combination helped develop his body quite rapidly. Following Army service (he served for a time in the Pacific), he decided to pursue bodybuilding professionally. In 1946, at the age of 20, he won "Mr. Pacific Coast" in Oregon, which led to his titles of "Mr. Western America" (1947), Mr. America" (1947), "Mr. World" (1948) and, ultimately, "Mr. Universe" (1950).
With all the body-worshiping publicity he garnered, he decided to travel to New York to study and pursue acting. He subsequently returned to California...and Hollywood. There were not huge opportunities for a muscleman in Tinseltown other than providing pectoral background. Steve was, however, considered for the lead role in Cecil B. DeMille's biblical costumer Samson and Delilah (1949), but refused when told by the legendary director he would have to lose some of his musculature (about 15 lbs.). The part instead went to Victor Mature. Steve did manage to snag the role of a detective in infamous director Edward D. Wood Jr.'s Jail Bait (1954). Small parts on TV also came his way, but they too were mostly posing bits or walk-ons. To the Hollywood power players, Steve was just a body. Whether he could act or not was not a concern or selling point. Fans just wanted to see him take his shirt off.
Down on his luck, Steve's fortunes change when Italian film director Pietro Francisci saw him play Jane Powell's boyfriend in the feature film Athena (1954) and persuaded him to go overseas to star in Hercules (1958) (US title: "Hercules"). Though critics dismissed the film as "muddled mythology" while denigrating its cheapjack production values (including a poorly-dubbed sound track), the public went crazy over the sword-and-sandal epic and, in particular, Steve's marvelous beefcake heroics. He became an "overnight" star. Sequels followed, none any better or worse, with him going through the paces as a number absurdly-muscled biblical and mythological figures. An able horseman, he also performed many of his own stunts. Moreover, he paved the way for other pumped-up acting hopefuls (Ed Fury, Mark Forest, Reg Park) to seek their fame and fortune in Italy as a feature-length Samson, Ursus or Colossus. Nobody, however, came close to topping Steve in popularity.
A shoulder injury forced Steve's retirement, spending the remainder of his life promoting steroid-free bodybuilding while living on a ranch and breeding horses. The more recent bodybuilders of fame such as Arnold Schwarzenegger and Lou Ferrigno, both Hercules impersonators of yore, have given Steve significant credit for their respective acting successes. Married twice, Steve died in Southern California of lymphoma on May 1, 2000, at age 74.- Actress
- Additional Crew
- Art Department
Gwen Verdon was born to the theater. Her mother, Gertrude, was a vaudevillian and dancer. Her father, Joseph, was an MGM studio electrician. She had to wear corrective boots as a child to straighten out her legs, which were misshapen by childhood illness. Nonetheless, she first appeared as a tapper on stage at age 6. She got her break in Bob Fosse's "Damn Yankees" in 1955. She married Fosse in 1960 and separated from him, although never divorcing him, in the mid-'70s. More stage and screen work quickly followed with highlights in "New Girl In Town", "Redhead", "Sweet Charity", and "Chicago". She and her daughter, Nicole Fosse, created the current stage musical "Fosse". Upon her death, Broadway dimmed all of its marquee lights in tribute.- Actor
- Director
- Soundtrack
Frantisek Lederer was born on November 6th, 1899, in Czechoslovakia. His father was a leather merchant, and young Frantisek began his working life as a department store delivery boy in Prague. He fell in love with acting from a young age, and was soon on stage touring Moravia and then all over Central Europe with people like Peter Lorre.
Lederer was easily lured into film by German actress Henny Porten and her producer husband. And it wasn't long before he was starring in the legendary German silent movie Pandora's Box (1929).
Whilst Lederer, who was using the German name of Franz, shifted from silents to talkies easily and was fast becoming one of Germany's top stars, he hadn't yet learned to speak any English.
By 1934, Lederer, (now using Francis), had begun working in America. And he was getting top billing too. Irving Thalberg had planned to make Lederer "the biggest star in Hollywood" but Thalberg's untimely death put a stop to that. But Lederer continued successfully in film and TV for many years.
After two brief marriages his third lasted 59 years. He invested in property well and made a fortune in the Canoga Park, California area. He founded the National Academy of Performing Arts on which his close friend Joan Crawford was on the Advisory Board. He loved to teach.
Lederer was still teaching the week before he died in 2000, aged 100 years.- Actress
- Stunts
- Soundtrack
Nan Leslie was born on 4 June 1926 in Los Angeles, California, USA. She was an actress, known for Kings Row (1955), Sunset Pass (1946) and Western Heritage (1948). She was married to Albert Jason Coppage and Charles Pawley. She died on 30 July 2000 in San Juan Capistrano, California, USA.- Director
- Script and Continuity Department
- Additional Crew
Milwaukee-born Don Weis began as a director of light-hearted, often youth-oriented entertainment. After graduating in film studies from the University of Southern California in 1942, he got his first job as an errand boy at Warner Brothers. He saw wartime service as a technician with the 1st Motion Picture Unit of the U.S. Army Air Corps, involved in the production of training films at Culver City. After the war he resumed his apprenticeship with Enterprise Productions as a dialogue director and assistant on several pictures produced by Stanley Kramer. In 1951 he was signed by Dore Schary to a two-year contract at MGM, making his directorial feature debut with the newspaper expose Bannerline (1951). This was followed by a string of light comedies and musicals of widely varying quality.
Among the best of the bunch was the cheerful George Wells-scripted and -produced musical I Love Melvin (1953) starring Debbie Reynolds and Donald O'Connor, highlighted by several exuberant dance routines and an engaging dream sequence in which Debbie sings "A Lady Loves". There was also a youthful college comedy, The Affairs of Dobie Gillis (1953), and an enjoyable minor sword-and-sandal outing made for Fox, entitled The Adventures of Hajji Baba (1954). Of considerably less interest were two inane entries in the "beach party" genre aimed specifically at the teen market: the sleep-inducing, apropriately-titled Pajama Party (1964) and the even sillier The Ghost in the Invisible Bikini (1966), which sadly wasted the talents of such excellent screen veterans as Boris Karloff and Basil Rathbone. It didn't get any better with the decidely laborious and unamusing farce Did You Hear the One About the Traveling Saleslady? (1968). Though conceived by two talented writers (James Fritzell and Everett Greenbaum) who later earned a well-deserved reputation for their rather wittier collaborative effort on M*A*S*H (1972), the humour was as obvious as the title might suggest. The venture, predictably, did not make a screen star out of Phyllis Diller.
In 1954 Weis began to direct episodes for television, a medium to which he found himself eminently suited. In the course of the next 30 years he became one of TV's busiest directors and one of the most accomplished, winning six annual awards from the Directors Guild of America. Ranging across every known genre, he was equally at ease helming the iconic Batman (1966) as he was behind the camera of some 58 episodes of crime-busting, wheelchair-bound Ironside (1967), or guiding four of the best installments of the cult series Kolchak: The Night Stalker (1974). Weis achieved his greatest success directing a brace of the most enduring episodes of the long-running and much-loved medical comedy "M*A*S*H*". Following his retirement he presided over the Motion Picture Permanent Charities Committee (PCC) and served on the board of the New Mexico Film Council.- Writer
- Director
- Actor
Roger Vadim was born on 26 January 1928 in Paris, France. He was a writer and director, known for Barbarella (1968), The Game Is Over (1966) and No Sun in Venice (1957). He was married to Marie-Christine Barrault, Catherine Schneider, Jane Fonda, Annette Stroyberg and Brigitte Bardot. He died on 11 February 2000 in Paris, France.- Actress
- Soundtrack
A brassy, blue-eyed platinum blonde of the 1930s in the Jean Harlow tradition. Joan was the daughter of Hollywood cinematographer Charles Rosher and appeared as a child in Mary Pickford movies (on which her father worked as cameraman) billed as Dorothy Rosher. She acted in some amateur dramatics as well but seems to have had little professional training. However, The Times in 1929 referred to her "extraordinary speaking and singing voice" at this crucial period when sound pictures began to replace silent cinema. When she was signed by Universal for King of Jazz (1930), she adopted the stage name Joan Marsh. A fairly busy actress alternating leads and second leads throughout the decade and into the mid-40s, she is perhaps best remembered opposite Warner Oland in Charlie Chan on Broadway (1937) and as Dimples in Road to Zanzibar (1941). Long under contract to MGM, she was also featured in two Greta Garbo films, Inspiration (1931) and Anna Karenina (1935). In lighter fare her characters tended to have names like Beanie, Toots or Cuddles. It seems, Joan Marsh was also an accomplished dancer, especially adept at the two most popular dances of the era, the Charleston and the Black Bottom. On screen she performed a ballroom routine with Edward J. Nugent in Dancing Feet (1936). On radio, Joan replaced Beatrice Lillie as hostess of the musical variety show Flying Red Horse Tavern in 1936, as well providing the vocals for Lennie Hayton's Orchestra.
Joan's first husband was the screenwriter Charles Belden, her second, Captain John Morrill of Army Air Transport Command.
Her hobbies included horse riding, tennis and golf.
Joan retired from acting after her final picture for Poverty Row outfit Monogram in 1944 and in later years owned a Los Angeles stationary business, Paper Unlimited.- Actor
- Director
- Additional Crew
Billy Barty was born William John Bertanzetti on October 25, 1924 in Millsboro, Pennsylvania. He began performing at age three and began making pictures in 1927. He played Mickey Rooney's little brother in the "Mickey McGuire" comedy shorts series. He was equally adept in both comedy and drama, and generally gives an added zest to any production he is associated with. He founded the Little People of America in 1957 and the Billy Barty Foundation in 1975. He possessed an immense talent and energetic charm that added a much needed shot in the arm to many series and films. Billy Barty died at age 76 of heart failure on December 23, 2000 in Glendale, California.- Costume Designer
- Costume and Wardrobe Department
Bill Thomas was born on 13 October 1921 in Chicago, Illinois, USA. He was a costume designer, known for Logan's Run (1976), Spartacus (1960) and Bedknobs and Broomsticks (1971). He died on 30 May 2000 in Beverly Hills, Los Angeles, California, USA.- Actor
- Music Department
- Soundtrack
Born in Kansas, Max Showalter picked up the "acting bug" as a toddler when mother used to take him to the local theater where she played the piano for silent movies. He acted in 92 shows at the Pasadena Playhouse between 1935 and '38, made his Broadway debut under the aegis of Oscar Hammerstein II in "Knights of Song" and acted for two years in the cast of Irving Berlin's traveling musical "This Is the Army." In addition to his films, TV appearances (over 1000), and stage shows, Showalter was a composer, a songwriter, and pianist. In his later years he lived in an 18th-century farmhouse in the Connecticut town he fell in love with while shooting the movie It Happened to Jane (1959).- Actor
- Writer
- Director
Vittorio Gassman studied theatre in his youth and was quite a good basketball player. He debuted on stage in 1943 and soon felt home in all classical theatre works. Since 1946 he also worked at the movies and his first big role there was the criminal in Bitter Rice (1949). This fixed him to his main parts: The ambiguous gentleman inflicting pain and pleasure at the same time. He also participated in the Italian comedies and in American movies but the latter with only minor success. As a homage to his passion for the theatre he directed a cinema version of the play Kean: Genius or Scoundrel (1957).- Actress
- Soundtrack
Marie Windsor (born Emily Marie Bertelsen) was born in Marysvale, Utah, and attended Brigham Young University. She trained for the stage under Maria Ouspenskaya before she began playing leading roles in B pictures in the late 1940s. So many B films in fact, that she garnered the title of 'Queen of the Bs'.
She was a talent - to paraphrase a cliché - of the right type and the right time. If film noir could have manufactured an archetype, it would most definitely have been Marie.
With Ms Windsor's bedroom eyes ('they didn't fit for a 'goody-goody wife, or a nice little girlfriend' ) she smouldered on screens, in scenes with John Garfield, and many others, in some of her best work. Marie's femme fatale (Ms Windsor was later quoted as saying a femme fatale is '...usually the woman who gets the man into bed... then into trouble') was on screen, most notably her role as the manipulative, double-crossing wife of Elisha Cook Jr. in The Killing (1956) (which earned her "Look" magazine's Best Supporting Actress award).
Marie later said she loved playing them because they're '... the type of character audience's never forget'.
Some of her favourites amongst her own films, in addition to The Killing (1956), are The Narrow Margin (1952) and Hellfire (1949).
Marie married was married twice before she met Jack Hupp, a realtor with whom she had a son. After retiring from films, Marie took up sculpting and painting.
Marie passed away one day before her 81st birthday. She's interred with her husband in her hometown.
Marie said audience's 'loved to hate her', and this is only partially true; audience's love Ms Windsor for the dynamism she portrayed, and as film noir gains new fans every day - more than 3/4 of a century since their heyday, it's a love affair which shows no signs of abating.- Actor
- Soundtrack
Born in Liberty, Missouri, as Gail Shikles Jr., tall, suave Craig Stevens will forever be remembered for his role as the cool, laid-back private eye Peter Gunn (1958), a ground-breaking show that ushered in the era of tough but smooth private eyes who were handy with their fists and with the ladies, and which also pioneered the use of jazz as not only background music but its main theme song. Stevens was attending Kansas University and planning a career in dentistry when he began performing in student plays at the university. Bitten by the acting bug, he moved to California, and in 1941 was signed by Warner Bros., where he met his future wife, Alexis Smith. Although never a front-rank star, Stevens played many second-leads through the 1940s and 1950s. Sci-fi fans will know him best as the lead in the somewhat cult-classic The Deadly Mantis (1957). With his film career in a rut, he moved over to television, and it was there he made his mark in the landmark "Peter Gunn" series. He made many guest-starring appearances in TV series over the years, had recurring roles in such series as Dallas (1978) and starred in ITC's Man of the World (1962). He retired after a role in his old friend Blake Edwards' 1981 film S.O.B. (1981).- Actor
- Soundtrack
David Tomlinson is best known for his role as George Banks in Walt Disney's Mary Poppins (1964). As a youth he spent a short spell in the guards. He joined the RAF in WW2 where he survived the trauma of a plane crash on his first solo flight due to engine failure, then becoming a flying instructor for the remainder of the war. He began his film career in the pre-war British film Quiet Wedding (1941) and followed that with Leslie Howard's 'Pimpernel' Smith (1941). Altogether he has made over 50 films and on stage he has had long-running successes in many plays including "The Little Hut" with Robert Morley and Roger Moore as his understudy. During the 1930s he understudied Alec Guinness. By the time he went to Hollywood to make Mary Poppins (1964) he was a veteran film and stage actor. David returned to Disney to great success in The Love Bug (1969) and Bedknobs and Broomsticks (1971). David was close friends with Errol Flynn, Robert Morley and Peter Sellers. He also spent time with Walt Disney whilst they discussed his role in Mary Poppins (1964). He retired in the early 1980s after an exemplary career on film and stage, and will always be remembered as one of the centuries greatest character actors.- Actor
- Stunts
- Soundtrack
An American stuntman who, after more than 30 years in the business, moved into acting and became an acclaimed and respected character actor, Richard Farnsworth was a native of Los Angeles. He grew up around horses and as a teenager was offered an opportunity to ride in films. He appeared in horse-racing scenes and cavalry charges unbilled, first as a general rider and later as a stuntman. His riding and stunting skills gained him regular work doubling stars ranging from Roy Rogers to Gary Cooper, and he often doubled the bad guy as well. Although. like most stuntmen, he was occasionally given a line or two of dialogue, it was not until Farnsworth was over 50 that his natural talent for acting and his ease and warmth before the camera became apparent. When he won an Academy Award nomination for his role in Comes a Horseman (1978), it came as a surprise to many in the industry that this "newcomer" had been around since the 1930s. Farnsworth followed his Oscar nomination with a number of finely wrought performances, including The Grey Fox (1982) and The Natural (1984). In 1999 he came out of semi-retirement for a tour-de-force portrayal in The Straight Story (1999).- Director
- Writer
- Costume Designer
Claude Autant-Lara was born on 5 August 1901 in Luzarches, Val-d'Oise, France. He was a director and writer, known for Devil in the Flesh (1947), The Crossing of Paris (1956) and The Red and the Black (1954). He was married to Ghislaine Autant-Lara. He died on 5 February 2000 in Antibes, Alpes-Maritimes, France.- Additional Crew
James Card was born on 25 October 1915 in Shaker Heights, Ohio, USA. He is known for The Titans (1962), Arena (1975) and All But Forgotten (1978). He died on 16 January 2000 in Syracuse, New York State, USA.- Beah Richards left her native Vicksburg, Mississippi, for New York City in 1950. She would not acquire a significant role on stage until 1955,when she appeared in the off-Broadway show "Take a Giant Step" convincingly portraying an 84-year-old grandmother without using theatrical makeup. In 1962 she appeared in writer James Baldwin's "The Amen Corner" directed by noted actor/director/activist Frank Silvera, who told Richards "Don't act, just be." She credited Silvera with helping her further develop the subtlety and quiet dignity that distinguished all of her performances.
A prolific actress, poet and playwright, her first authored play was "All's Well That Ends" that delved into the issues of racial segregation. Always ahead of her time, she defined herself as "Black" when the term "Negro" was the preferred ethnic/racial label of Black Americans. Richards would bring her salutary satisfaction with being "Black" and her immense acting talents to the role of the peacemaking mother in Guess Who's Coming to Dinner (1967), a role for which she was nominated for an Oscar. Additionally, she appeared in "Purlie Victorious" by Ossie Davis and "The Little Foxes" by Lillian Hellman.
In 1988, she won an Emmy Award for her performance in Frank's Place (1987). Although stricken with emphysema, she delivered a tour-de-force performance on the ABC legal drama The Practice (1997) in 2000; she received her second Emmy Award for this performance three days before her death in her native Vicksburg. - Actress
- Music Department
- Soundtrack
Julie London recorded 32 albums during her career. Forced to give up band singing when her true age was discovered, she was primarily a torch singer. Her vocal range was described by "sultry" and "low-keyed". Her own favorite singers were Barbra Streisand and Roberta Flack.
She was known in some circles as "The Liberty Girl" for helping establish Liberty Records, where she began singing in 1955, as a successful label. Her many hit albums on that label include "Julie Is Her Name", "Calendar Girl" with some borderline erotic (for the time) cover photography by Gene Lester, "About the Blues", "Your Number, Please", "Send For Me", "Love Letters", "The End of the World", "In Person at the Americana", "The Wonderful World of Julie London" and the provocatively titled "Nice Girls Don't Stay for Breakfast".
Her most popular song, "Cry Me a River", was written by her former classmate/boyfriend Arthur Hamilton and produced by Bobby Troup. Her four most-sought-after and successful albums are "About the Blues (1957), "Feeling Good" (1965), "Easy Does It" (1968) and "Yummy, Yummy, Yummy" (1969). (Her version of "Yummy Yummy Yummy" was featured on the HBO television series Six Feet Under (2001).) Billboard Magazine named her the most popular female vocalist for 1955, 1956 and 1957".- Actress
- Soundtrack
The younger sister of actress Alice Day, Marceline achieved stardom in the mid-1920s, appearing opposite such stars as John Barrymore and Lon Chaney. Adept at comedy, she also starred with such top comics as Buster Keaton and Harry Langdon. Her career faltered in the early 1930s, however, and she was soon reduced to appearing in low-budget thrillers and action pictures. She retired in the mid-1930s.- Nancy Marchand's mother, a pianist, sent her shy daughter to acting classes in hopes of breaking her out of her shell. As a student at Carnegie Tech (Carnegie Mellon University), she studied the works of William Shakespeare and the other great playwrights and, upon graduation, set off for New York City. She received acclaim in the part of the tavern hostess in Shakespeare's "The Taming of the Shrew" at the City Center in 1951. Her list of theater works include "The Cocktail Hour" and "The Balcony" (an Obie for both), "White Lies and Black Comedy" (Tony nominations for both), "The Octette Bridge Club" and "Morning's at Seven". She worked at many of the great theaters in the United States, including the Brattle Theatre, Long Wharf, Lincoln Center Repertory Company and the Goodman Theatre. During her illustrious theater career, she won the role of Mrs. Pynchon in the TV series Lou Grant (1977) with Ed Asner, for which she won four Emmys. Her last accolade was her role as Livia Soprano in HBO's The Sopranos (1999), for which she won a Golden Globe.
- Actor
- Cinematographer
- Soundtrack
Harold Nicholas, the younger half of the world famous Nicholas Brothers dance team, is known as one of the world's greatest dancers. He and his brother Fayard Nicholas were established superstars at Twentieth Century Fox with their astounding dance numbers in the studios musicals features. Harold was known for "attributing spice to Fayard's grace," with his quick moves. Harold was a seasoned pro at age 7, appearing in everything from early 1930s Warner Bros. Vitaphone shorts with the great Eubie Blake, to receiving the prestigious Kennedy Center Honor in Washington in 1991. Carnegie Hall sold out for a tribute to he and his brother in 1998, who were both present that special night. Though he always made his astounding mid air splits and backwards somersaults seem effortless, Nicholas was much more though than a "specialty act" for 1940s Fox films. He was an incredible "dancer," one you could watch and never tire of. The man had a something no other dancer had. Always with a smile on his face, his special charm and style gave him that extra something no other dancer had.- Actor
- Writer
- Additional Crew
While studying, he became interested in acting and was discovered when performing in a school play.
His talent for comedic acting made him known for the public when he debuted with Pengar - en tragikomisk saga (1947), which he directed himself. He is today best remembered for his character Fabian Bom, always a perfectionist until he falls in love. Similar is also his character Sten Stensson, an academic upholding a high moral standard. In Ingmar Bergman's The Seventh Seal (1957), he also played drama, in the role as Jof the jester. After retiring from the movies, he returned to the stage playing light comedy until the age of 85.- Director
- Editorial Department
- Editor
The term "style over content" fits director Joseph H. Lewis like a glove. His ability to elevate basically mundane and mediocre low-budget material to sublime cinematic art has gained him a substantial cult following among movie buffs. The Bonnie & Clyde look-alike Gun Crazy (1950), shot in 30 days on a budget of $400,000, is often cited as his best film. This taut gangster flick about two gun-crazy sociopaths on a crime spree is impregnated with an electric atmosphere, zipping along at a breakneck pace. It has been likened to a "tone poem of camera movement" and described by Martin Scorsese as "unrelenting and involving". A master of expressive lighting, tight close-ups, tracking and crane shots and offbeat camera angles and perspectives, Lewis possessed an instinctive sense of visual style, which imbued even the most improbable of his B-grade westerns and crime melodramas. Significant peripheral detail was his stock-in-trade. He acquired these skills working as a camera assistant in the 1920's (his aptitude for the work may have been come from his optometrist father) and further honed them in the MGM editorial department in the early '30s. After that Lewis edited serials at Republic and served the remainder of his apprenticeship as second unit director. He was signed to a full directing contract by Universal in 1937.
During the next two decades, Lewis spent time at Columbia (1939-40, 1946-49), Universal again (1942), PRC (1944), MGM (1950, 1952-53) and United Artists (1957-58), reliably turning out a couple of pictures per year. While he helmed more than his fair share of horse operas, it was invariably his films noir which attracted the most attention. Pick of the bunch were two slick second features during his spell at Columbia, My Name Is Julia Ross (1945), about a diabolical murder plot involving Nina Foch in her first starring role; and So Dark the Night (1946), an offbeat psychological thriller with character actor Steven Geray well cast as a French detective who unwittingly investigates his own crimes. Another candidate for inclusion on any Lewis "best" list would have to be The Big Combo (1955), made for Allied Artists and boasting impressive camera work by John Alton. It marked the beginning of a new cycle of films in which violence became rather more accentuated (the film ran into censorship trouble for that reason) and where the villain (in this case, philosophizing racketeer Richard Conte) was rather more interesting and dynamic than the maniacally obsessive but dullish nominal hero (cop Cornel Wilde).
After suffering a heart attack in 1953, Lewis began to reduce his workload. His cinematic curtain call was the low-budget western Terror in a Texas Town (1958), characterized by deliberate and fluid camera movement and some neat touches, like the hero (Sterling Hayden) sporting a harpoon for the climactic final showdown. The idea of successfully uniting the townsfolk against the tyranny of arbitrary rule was also intended as a veiled attack on McCarthyism. With the credits shot through the spokes of a wagon wheel, "Terror" was a fitting finale to Lewis's career.
He spent a few more years directing episodic TV westerns (including several of the better episodes of The Rifleman (1958)) and finally retired in 1966. When not addressing aspiring directors on the lecture circuit, he spent his remaining decades in leisure pursuits, in particular sailing and deep-sea fishing aboard his much-loved 50-foot trawler "Buena Vista".- Music Department
- Composer
- Soundtrack
George Duning was educated in Cincinnati, Ohio, and during his early 20s played trumpet and piano for the Kay Kyser band, later arranging most of the music for Kyser's popular "Kollege of Musical Knowledge" radio program. It was during the Kyser band's appearance in Carolina Moon (1940) that Duning's work was noticed, leading to a contract with Columbia Pictures.- Director
- Production Manager
- Producer
Born in England on Christmas Day, 1905, Lewis Allen first came on the show-biz scene when he was appointed executive in charge of West End and Broadway stage productions for famed impresario Gilbert Miller. Allen also co-directed some of the productions (including the celebrated "Victoria Regina" with Helen Hayes and Vincent Price) before he was lured to Hollywood by Paramount studio head Buddy G. DeSylva. The Uninvited (1944), based on Dorothy Macardle's best-selling novel, made for an auspicious directing debut; its success prompted an immediate follow-up, the suspense thriller The Unseen (1945) (with a script by Raymond Chandler). Otherwise, his filmography leans heavily toward "tough guy" movies of the Alan Ladd-George Raft-Edward G. Robinson school. Allen also directed much TV (Perry Mason (1957), The Big Valley (1965), Mission: Impossible (1966), Little House on the Prairie (1974), many more).- Actress
- Additional Crew
- Soundtrack
Ann Doran appeared in over 500 motion pictures and 1000 television shows, by one count. Starting at the age of four, she appeared in hundreds of silent films under assumed names so her father's family wouldn't find out. Rarely a featured player (although Charles Starrett's Rio Grande (1938) is a notable exception), she provided many a wonderful performance in support of the leads.- Actress
- Soundtrack
Green-eyed beauty Jean Elizabeth Peters flashed across the screen as a bright star during her relatively brief tenure in Hollywood. After just seven years under contract to 20th Century-Fox (1947-54), she joined in the reclusive lifestyle of her eccentric billionaire husband, Howard Hughes, and all but vanished from public view.
Jean was born in Canton, Ohio, in October of 1926. Her father died when she was ten years old. Her mother owned a tourist camp on the outskirts of town and there was enough money around to send Jean to college. She received the latter part of her tertiary education at Ohio State University and graduated with a diploma qualifying her as an English teacher. A campus popularity contest she won ended her plans as an English teacher because it came with a trip to Hollywood and a screen test. In short order, "Miss Ohio State University" was offered a seven-year contract at 20th Century-Fox with a starting salary of $150 a week.
After being picked by Darryl F. Zanuck to co-star opposite Tyrone Power in the studio's splashy big-budget swashbuckler Captain from Castile (1947), Jean came to the attention of Howard Hughes. She discreetly dated him for the remainder of the decade and continued to live an unpretentious lifestyle, rarely seen in public and eschewing the Hollywood nightlife and parties. A self-confessed tomboy, she rarely wore make-up in private and preferred to dress in jeans rather than glamorous gowns. She and her mother lived in a smallish bungalow in Bel-Air, paid for by Hughes. After relative success in her second feature, Deep Waters (1948), she became increasingly dissatisfied with the prissy roles she was assigned in her subsequent efforts. She was no shrinking violet when it came to defending her interests: she refused outright to appear in Yellow Sky (1948) (a part she thought as "too sexy") and Sand (1949), and her contract was consequently terminated. She returned to farm life in Ohio, but was back in New York in 1951 to be screen-tested by Elia Kazan for the epic biopic of Mexican revolutionary hero Emiliano Zapata in Viva Zapata! (1952), shot on location in Mexico with Marlon Brando in the lead.
Fox wisely used Jean during the next few years for similarly unglamorous outdoor roles, notably as the titular heroine of Anne of the Indies (1951), a tempestuous girl living in the Georgia swamps in Lure of the Wilderness (1952), a gum-chewing dame innocently involved in espionage in Samuel Fuller's Pickup on South Street (1953) and as Burt Lancaster's Indian squaw in the hard-hitting western Apache (1954). She got good notices in all of these films and was now recognized as a major star. As a result, she was cast in the prestigious film noir Niagara (1953), opposite Joseph Cotten and Marilyn Monroe (both of whom she befriended) and the Spencer Tracy western Broken Lance (1954). Under a new contract with Fox, Jean was now no longer in a position to refuse an assignment and, though basically unhappy with her part in Three Coins in the Fountain (1954), the picture proved to be one of her most popular pictures to date. Her next film, A Man Called Peter (1955), was to be her swan song. Following a 33-day marriage to a Texan oilman which ended in a whirlwind divorce, Jean finally married Howard Hughes in a secret ceremony and left public life for the next 13 years. She never gave interviews and retreated to an isolated hilltop mansion above the Santa Monica Mountains. In 1969 she resurfaced, studying for a degree in sociology at UCLA under an assumed name.
When Jean's marriage to Hughes ended in June 1971, the actress settled for the relatively modest sum of $70,000 a year and happily waived any further claims on the estate. That same year she got married for the third time, to 20th Century-Fox vice-president Stan Hough. Her screen career was briefly resuscitated when she was cast in the miniseries Arthur Hailey's the Moneychangers (1976) and she was last seen in an episode of Murder, She Wrote (1984). She devoted her final years to charitable causes and never spoke in public about her years with Howard Hughes.- Editor
- Editorial Department
- Additional Crew
David Bretherton was born on 29 February 1924 in Los Angeles, California, USA. He was an editor, known for Cabaret (1972), Westworld (1973) and Clue (1985). He died on 11 May 2000 in Los Angeles, California, USA.- Writer
- Director
- Producer
Born in Dresden, Germany, in 1902, Curt Siodmak worked as an engineer and a newspaper reporter before entering the literary and movie fields. It was as a reporter that he got his first break (of sorts) in films: in 1926 he and his reporter-wife hired on as extras on Fritz Lang's Metropolis (1927) in order to get a story on the director and his film. One of Siodmak's first film-writing assignments was the screenplay for the German sci-fi picture F.P.1 Doesn't Answer (1932) (US title: "Floating Platform 1 Does Not Answer"), based on his own novel. Compelled to leave Germany after Adolf Hitler and the Nazis took power, Siodmak went to work as a screenwriter in England and then moved to Hollywood in 1937. He got a job at Universal through his director-friend Joe May, helping write the script for May's The Invisible Man Returns (1940). Because the film went over well, Siodmak says, he fell into the horror/science-fiction "groove."- The Oscar-winning screenwriter, Ring Lardner, Jr., will always be known for one of two things: that he was the son of one of the greatest humorists American literature has produced, and he was one of the Hollywood 10, the ten film-makers who refused to cooperate with the House Un-American Activities Committee (HUAC) investigating subversion in Hollywood and were fined and jailed for the defiance.
The son of newspaper sports columnist and best-selling writer Ring Lardner, the future double Oscar winner was born on August 19, 1915 in Chicago, Illinois. Ring, Sr. (who was born Ringgold Wilmer Lardner) became famous for his "Saturday Evening Post" series, "You Know Me Al", fictional letters being sent from one baseball player to another. Mawell Perkins, editor-extraordinaire at the publishing house, Charles Scribners & Son, collected Lardner's columns and stories into publishable form (Ernest Hemingway, another Scribers writer, was a great fan) and they were a great success. Such was Lardner's renown, that 30 years after his death (while his son and namesake was still officially blacklisted), he was the first sportswriter inducted into the Baseball Hall of Fame in Cooperstown, New York, for meritorious contributions to baseball writing, in 1963.
On his part, Ring, Jr. became a reporter for the "New York Daily Mirror" after dropping out of Princeton. He moved West and became a publicist for producer David O. Selznick, where he met his future wife, who also worked for the producer. He also worked as a script doctor for Selznik, then went on to become a screenwriter, often working in collaboration.
During the Spanish Civil War, Lardner moved steadily left in his political thinking, and helped raise funds for the Republican cause. He joined the Communist Party and became involved in organizing anti-fascist demonstrations. Although his leftist politics were known to the studios, in the 1930s and early '40s, Hollywood did not shy away from hiring talented writers no matter what their political proclivities, and employed many known (as well as secret) communists.
In 1943, he and Michael Kanin won the Oscar in 1942 for their Woman of the Year (1942) screenplay. He wrote such great pictures as Laura (1944) for Otto Preminger and, in 1947, 20th Century Fox gave him a contract at $2,000 a week, making him one of the highest paid scribes in La-La Land. Ironically, at the time of this seeming triumph, his career and life were about to unravel.
When it was Lardner turn to be hauled before HUAC and asked, "Are you now or have you ever been a member of the Communist Party of the United States?", he came up with a witty riposte.
"I could answer the question exactly the way you want, but if I did, I would hate myself in the morning". After the appeals process against HUAC's citations for contempt of Congress played out, Lardner was sentenced to a year in prison and fined. More importantly, he was blacklisted and could not find work in Hollywood except under pseudonyms for work "fronted" by others. After the blacklist was officially broken when Preminger hired Dalton Trumbo to adapt Leon Uris's novel "Exodus" for his 1960 production (Kirk Douglas then immediately hired Trumbo to write a screenplay for his upcoming Spartacus (1960)), the blacklisted writers slowly returned to work under their own names. Lardner was hired by producer Martin Ransohoff, who respected writers more than did the average Hollywood producer, to write the screenplay for The Cincinnati Kid (1965) under his own name. His comeback was complete when, in 1971, he won his second Oscar for adapting Robert Hooker's comic novel, "M*A*S*H" (1970) (ironically, due to director Robert Altman's improvisational style, little of Lardner's dialogue remained in the movie). His career, though, had been effectively aborted by the blacklist, and he only was credited with two more screenplays during his lifetime.
Ring Lardner, Jr. was the last of the Hollywood 10 to die, passing away on Halloween, October 31, 2000, in New York City from cancer. He was 85 years old and had long outlived most of the witch-hunters who had tormented him. He was survived by his wife, Frances Chaney, and five children. - Actor
- Writer
- Soundtrack
Alec Guinness was an English actor. He is known for his six collaborations with David Lean: Herbert Pocket in Great Expectations (1946), Fagin in Oliver Twist (1948), Col. Nicholson in The Bridge on the River Kwai (1957), for which he won the Academy Award for Best Actor), Prince Faisal in Lawrence of Arabia (1962), General Yevgraf Zhivago in Doctor Zhivago (1965), and Professor Godbole in A Passage to India (1984).
Guinness is really most remembered for his portrayal of Obi-Wan Kenobi in George Lucas' original Star Wars trilogy for which he receive a nomination for an Academy Award for Best Supporting Actor.
In 1959, he was knighted by Queen Elizabeth II for services to the arts. In the 1970s, Guinness made regular television appearances in Britain, including the role of George Smiley in the serialisations of two novels by John le Carré: Tinker Tailor Soldier Spy (1979) and Smiley's People (1982). In 1980 he received the Academy Honorary Award for lifetime achievement.
Guinness was also one of three British actors, along with Laurence Olivier and John Gielgud, who made the transition from Shakespearean theatre in England to Hollywood blockbusters immediately after the Second World War.
Guinness died on 5 August 2000, from liver cancer, at Midhurst in West Sussex.- Actress
- Producer
- Soundtrack
Sweet, sweeter, sweetest. No combination of terms better describes the screen persona of lovely Loretta Young. A&E's Biography (1987) has stated that Young "remains a symbol of beauty, serenity, and grace. But behind the glamour and stardom is a woman of substance whose true beauty lies in her dedication to her family, her faith, and her quest to live life with a purpose."
Loretta Young was born Gretchen Young in Salt Lake City, Utah on January 6, 1913, to Gladys (Royal) and John Earle Young. Her parents separated when Loretta was three years old. Her mother moved Loretta and her two older sisters to Southern California, where Mrs. Young ran a boarding house. When Loretta was 10, her mother married one of her boarders, George Belzer. They had a daughter, Georgianna, two years later.
Loretta was appearing on screen as a child extra by the time she was four, joining her elder sisters, Polly Ann Young and Elizabeth Jane Young (later better known as Sally Blane), as child players. Mrs. Young's brother-in-law was an assistant director and got young Loretta a small role in the film The Only Way (1914). The role consisted of nothing more than a small, weeping child lying on an operating table. Later that year, she appeared in another small role, in The Primrose Ring (1917). The film starred Mae Murray, who was so taken with little Loretta that she offered to adopt her. Loretta lived with the Murrays for about a year and a half. In 1921, she had a brief scene in The Sheik (1921).
Loretta and her sisters attended parochial schools, after which they helped their mother run the boarding house. In 1927, Loretta returned to films in a small part in Naughty But Nice (1927). Even at the age of fourteen, she was an ambitious actress. Changing her name to Loretta Young, letting her blond hair revert to its natural brown and with her green eyes, satin complexion and exquisite face, she quickly graduated from ingenue to leading lady. Beginning with her role as Denise Laverne in The Magnificent Flirt (1928), she shaped any character she took on with total dedication. In 1928, she received second billing in The Head Man (1928) and continued to toil in many roles throughout the '20s and '30s, making anywhere from six to nine films a year. Her two sisters were also actresses but were not as successful as Loretta, whose natural beauty was her distinct advantage.
The 17-year-old Young made headlines in 1930 when she and Grant Withers, who was previously married and nine years her senior, eloped to Yuma, Arizona. They had both appeared in Warner Bros.' The Second Floor Mystery (1930). The marriage was annulled in 1931, the same year in which the pair would again co-star on screen in a film ironically titled Too Young to Marry (1931). By the mid-'30s, Loretta left First National Studios for rival Fox, where she had previously worked on a loan-out basis, and became one of the premier leading ladies of Hollywood.
In 1935, she made Call of the Wild (1935) with Clark Gable and it was thought they had an affair where Loretta got pregnant thereafter. Because of the strict morality clauses in their contracts - and the fact that Clark Gable was married - they could not tell anybody except Loretta's mother. Loretta and her mother left for Europe after filming on The Crusades finished. They returned in August 1935 to the United States, at which time Gladys Belzer announced Loretta's 'illness' to the press. Filming on Loretta's next film, Ramona, was also cancelled. During this time, Loretta was living in a small house in Venice, California, her mother rented. On November 6, 1935, Loretta delivered a healthy baby girl whom she named Judith. It wasn't until the 1990s when she was watching Larry King Live where she first heard the word 'date rape' and upon finding out exactly what it was, professed to her friend and biographer Edward Funk and her daughter-in-law Linda Lewis, that she had gone through the same with Clark Gable. "That's what happened between me and Clark."
In 1938, Loretta starred as Sally Goodwin in Kentucky (1938), an outstanding success. Her co-star Walter Brennan won the Academy Award for Best Supporting Actor for his role as Peter Goodwin.
In 1940, Loretta married businessman Tom Lewis, and from then on her child was called Judy Lewis, although Tom Lewis never adopted her. Judy was brought up thinking that both parents had adopted her and did not know, until years later, that she was actually the biological daughter of Loretta and Clark Gable. Four years after her marriage to Tom Lewis, Loretta had a son, Christopher Lewis, and later another son, Peter Charles.
In the 1940s, Loretta was still one of the most beautiful ladies in Hollywood. She reached the pinnacle of her career when she won the Academy Award for Best Actress in The Farmer's Daughter (1947), the tale of a farm girl who rises through the ranks and becomes a congresswoman. It was a smash and today is her best remembered film. The same year, she starred in the delightful fantasy The Bishop's Wife (1947) with David Niven and Cary Grant. It was another box office success and continues to be a TV staple during the holiday season. In 1949, Loretta starred in the well-received film, Mother Is a Freshman (1949) with Van Johnson and Rudy Vallee and Come to the Stable (1949). The latter garnered Loretta her second Oscar nomination, but she lost to Olivia de Havilland in The Heiress (1949). In 1953, Loretta made It Happens Every Thursday (1953), which was to be her final big screen role.
She retired from films in 1953 and began a second, equally successful career as hostess of The Loretta Young Show (1953), a half-hour television drama anthology series which ran on NBC from September 1953 to September 1961. In addition to hosting the series, she frequently starred in episodes. Although she is most remembered for her stunning gowns and swirling entrances, over the broadcast's eight-year run she also showed again that she could act. She won Emmy awards for best actress in a dramatic series in 1954, 1956 and 1958.
After the show ended, she took some time off before returning in 1962 with The New Loretta Young Show (1962), which was not so successful, lasting only one season. For the next 24 years, Loretta did not appear in any entertainment medium. Her final performance was in a made for TV film Lady in the Corner (1989).
By 1960, Loretta was a grandmother. Her daughter Judy Lewis had married about three years before and had a daughter in 1959, whom they named Maria. Loretta and Tom Lewis divorced in the early 1960s. Loretta enjoyed retirement, sleeping late, visiting her son Chris and daughter-in-law Linda, and traveling. She and her friend Josephine Alicia Saenz, ex-wife of John Wayne, traveled to India and saw the Taj Mahal. In 1990, she became a great-grandmother when granddaughter Maria, daughter of Judy Lewis, gave birth to a boy.
Loretta lived a quiet retirement in Palm Springs, California until her death on August 12, 2000 from ovarian cancer at the home of her sister Georgiana and Georgiana's husband, Ricardo Montalban.- Actor
- Soundtrack
Powerful and highly respected American actor Jason Nelson Robards, Jr. was born in Chicago, Illinois, to Hope Maxine (Glanville) and stage and film star Jason Robards Sr. He had Swedish, English, Welsh, German, and Irish ancestry. Robards was raised mostly in Los Angeles. A star athlete at Hollywood High School, he served in the U.S. Navy in World War II, where he saw combat as a radioman (though he is not listed in official rolls of Navy Cross winners, despite the claims he and his public relations personnel made. Neither was he at Pearl Harbor during the Dec. 7, 1941 attack, his ship being at sea at the time.) Returning to civilian life, he attended the American Academy of Dramatic Arts and struggled as a small-part actor in local New York theatre, TV and radio before shooting to fame on the New York stage in Eugene O'Neill's "The Iceman Cometh" as Hickey. He followed that with another masterful O'Neill portrayal, as the alcoholic Jamie Tyrone in "Long Day's Journey Into Night" on Broadway. He entered feature films in The Journey (1959) and rose rapidly to even greater fame as a film star. Robards won consecutive Academy Awards for Best Supporting Actor for All the President's Men (1976) and Julia (1977), in each case playing real-life people. He continued to work on the stage, winning continued acclaim in such O'Neill works as "Moon For the Misbegotten" and "Hughie." Robards died of lung cancer in 2000.- Actor
- Director
- Writer
Born in London, England, John Gielgud trained at Lady Benson's Acting School and RADA, London. Best known for his Shakespearean roles in the theater, he first played Hamlet at the age of 26. He worked under the tutelage of Lilian Bayliss with friend and fellow performer Laurence Olivier and other contemporaries of the National Theatre at the "Old Vic", London. He made his screen debut in 1924. Academy Award Best Supporting Actor, 1981, for Arthur (1981), Academy Award Nomination, 1964, for Becket (1964).- Actress
- Producer
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Hedy Lamarr, the woman many critics and fans alike regard as the most beautiful ever to appear in films, was born Hedwig Eva Maria Kiesler in Vienna, Austria. She was the daughter of Gertrud (Lichtwitz), from Budapest, and Emil Kiesler, a banker from Lemberg (now known as Lviv). Her parents were both from Jewish families. Hedwig had a calm childhood, but it was cinema that fascinated her. By the time she was a teenager, she decided to drop out of school and seek fame as an actress, and was a student of theater director Max Reinhardt in Berlin. Her first role was a bit part in the German film Geld auf der Straße (1930) (aka "Money on the Street") in 1930. She was attractive and talented enough to be in three more German productions in 1931, but it would be her fifth film that catapulted her to worldwide fame. In 1932 she appeared in a Czech film called Ekstase (US title: "Ecstasy") and had made the gutsy move to appear nude. It's the story of a young girl who is married to a gentleman much older than she, but she winds up falling in love with a young soldier. The film's nude scenes created a sensation all over the world. The scenes, very tame by today's standards, caused the film to be banned by the U.S. government at the time.
Hedy soon married Fritz Mandl, a munitions manufacturer and a prominent Austrofascist. He attempted to buy up all the prints of "Ecstasy" he could lay his hands on (Italy's dictator, Benito Mussolini, had a copy but refused to sell it to Mandl), but to no avail (there are prints floating around the world today). The notoriety of the film brought Hollywood to her door. She was brought to the attention of MGM mogul Louis B. Mayer, who signed her to a contract (a notorious prude when it came to his studio's films, Mayer signed her against his better judgment, but the money he knew her notoriety would bring in to the studio overrode any moral concerns he may have had). However, he insisted she change her name and make good, wholesome films.
Hedy starred in a series of exotic adventure epics. She made her American film debut as Gaby in Algiers (1938). This was followed a year later by Lady of the Tropics (1939). In 1942, she played the plum role of Tondelayo in the classic White Cargo (1942). After World War II, her career began to decline, and MGM decided it would be in the interest of all concerned if her contract were not renewed. Unfortunately for Hedy, she turned down the leads in both Gaslight (1940) and Casablanca (1942), both of which would have cemented her standing in the minds of the American public. In 1949, she starred as Delilah opposite Victor Mature's Samson in Cecil B. DeMille's epic Samson and Delilah (1949). This proved to be Paramount Pictures' then most profitable movie to date, bringing in $12 million in rental from theaters. The film's success led to more parts, but it was not enough to ease her financial crunch. She made only six more films between 1949 and 1957, the last being The Female Animal (1958).
Hedy retired to Florida. She died there, in the city of Casselberry, on January 19, 2000.- Actress
- Soundtrack
Claire Trevor was born Claire Wemlinger in the Bensonhurst section of Brooklyn, New York, the only child of Fifth Avenue merchant-tailor Noel Wemlinger, an immigrant Frenchman from Paris who lost his business during the Depression, and his Belfast-born wife, Benjamina, known as "Betty". Young Claire's interest in acting began when she was 11 years old. She attended high school in Mamaroneck, Westchester County, New York. After starting classes at Columbia University, she spent six months at the American Academy of Dramatic Arts, also in New York. Her adult acting experience began in the late 1920s in several stock productions; she appeared with Robert Henderson's Repertory Players in Ann Arbor, Michigan in 1930. That same year, aged 20, she signed with Warner Bros. Not too far from her home haunts was Vitagraph Studios in Brooklyn, the last and best of the early sound process studios, which had been acquired by Warner Bros. in 1925 to become Vitaphone. Trevor appeared in several of the nearly 2000 shorts cranked out by the studio between 1926 and 1930. Then she was sent west to do ten weeks of stock productions with other contract players in St. Louis. In 1931 she did summer stock with the Hampton Players in Southampton, Long Island. Finally, she debuted on Broadway in 1932 in "Whistling in the Dark".
Trevor moved to the silver screen, debuting in the western Life in the Raw (1933). There would be three more films (one more western) that year and six or more through the 1930s. Although she had been typed playing gun molls and hard-case women of the world, she displayed her already considerable versatility in these early films, often playing competent, take-charge professional women as well as "shady" ladies. There was a disappointed-pout-vulnerability in her face and that famous slightly New York-burred voice that cracked with a little cry when heightened by emotion that quickly revealed an unusual and sensitive performer. Many of her early films were "B" potboilers, but she worked with Spencer Tracy on several occasions, notably Dante's Inferno (1935).
Hollywood finally took notice of her talents by nominating her for a Best Supporting Actress Oscar for her standout performance as a slum girl forced by poverty into prostitution in Dead End (1937), opposite Humphrey Bogart. That same year she did the radio drama "Big Town" with Edward G. Robinson, then teamed with he and Bogart again for the slightly hokey but entertaining The Amazing Dr. Clitterhouse (1938). Director John Ford tapped her for his first big sound Western film, Stagecoach (1939), the film that made a star of John Wayne. All her abilities to bring complexity to a character showed in her kicked-around dance hall girl "Dallas", one of the great early female roles. She and Wayne were electric, and they were paired in three more films during their careers.
In the 1940s, Trevor began appearing in the genre that brought her to true stardom: "film noir". She started in a big way as killer Ruth Dillon in Street of Chance (1942) with Burgess Meredith. She was equally convincing as the more complex but nonetheless two-faced Mrs. Grayle in the Philip Marlowe vehicle Murder, My Sweet (1944). However, she was something very different and quite extraordinary as washed-up, hopelessly alcoholic former nightclub singer and moll Gaye Dawn in Key Largo (1948), for which she won an Academy Award as Best Supporting Actress, again working with Bogart and Robinson. Her pitiful rendition of the torch song "Moanin' Low", which her character was forced to sing, humiliatingly, for the sadistic crime boss played by Robinson (to whom she is, figuratively speaking, permanently tethered) in exchange for a desperately needed drink. There were more quality movies and an additional Academy nomination (The High and the Mighty (1954)) into the 1950s,, but she also was doing work on stage and in television.
She was enthusiastic about live TV and appeared on several famous shows by the mid-1950s. She won an Emmy for Best Live Television Performance by an Actress as the flighty wife of Fredric March in NBC's Dodsworth (1956). She alternated her career among film, stage and TV roles. As she aged she easily transitioned into "distinguished matron" and mother roles, one of her most unusual ones being the murderous Ma Barker in Ma Barker and Her Boys (1959). Her final film role was as Sally Field's mother in Kiss Me Goodbye (1982).
Trevor and her third husband, producer Milton H. Bren, had long been residents of tony Newport Beach, California, to which they returned when she finally retired from screen work. However, she did maintain an active interest in stage work, and became associated with the University of California-Irvine's School of Arts. She and her husband contributed some $10 million to further its development for the visual and performing arts (that included three endowed professorships). After her passing in April 2000 at 90 years of age, the University renamed the school The Claire Trevor School of the Arts. Her presence on the UCI campus is in more than spirit alone. She donated her Oscar and her Emmy to UCI; both are on display in the arts plaza at the campus theatre that bears her name.- Actor
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Walter Matthau was best known for starring in many films which included Charade (1963), The Odd Couple (1968), Grumpy Old Men (1993), and Dennis the Menace (1993). He often worked with Jack Lemmon and the two were Hollywood's craziest stars.
He was born Walter Jake Matthow in New York City, New York on October 1, 1920. His mother was an immigrant from Lithuania and his father was a Russian Jewish peddler and electrician from Kiev, Ukraine. As a young boy, Matthau attended a Jewish non-profit sleep-away camp. He also attended Surprise Lake Camp. His high school was Seward Park High School.
During World War II, Matthau served in the U.S. Army Air Forces with the Eighth Air Force in Britain as a Consolidated B-24 Liberator radioman-gunner, in the same 453rd Bombardment Group as James Stewart. He was based at RAF Old Buckenham, Norfolk during this time. He reached the rank of staff sergeant and became interested in acting.
Matthau appeared in the pilot of Mister Peepers (1952) alongside Wally Cox. He later appeared in the Elia Kazan classic, A Face in the Crowd (1957), opposite Patricia Neal and Andy Griffith, and then appeared in Lonely Are the Brave (1962), with Kirk Douglas, a film Douglas has often described as his personal favorite. Matthau then appeared in Charade (1963) with Audrey Hepburn and Cary Grant. In 1968, Matthau made his big screen appearance as Oscar Madison in The Odd Couple (1968) alongside Jack Lemmon. The two were also in the sequel (The Odd Couple II (1998)) as well as Grumpy Old Men (1993) and Grumpier Old Men (1995). Matthau was in Dennis the Menace (1993), alongside Mason Gamble. On July 1, 2000, Matthau died of a heart attack in Los Angeles, California. He was 79 years old.- Actress
- Soundtrack
A genuine model of sincerity, practicality and dignity in most of the roles she inhabited, actress Dorothy McGuire offered Tinseltown more talent than it probably knew what to do with. A quiet, passive beauty, she had a soothing quality to her open-faced looks and voice. She was a natural when he came to tearjerkers and she certainly had a knack for opening up her film-goer's tear ducts with her arresting performances in sentimental drama. She preferred to rest on her acting laurels than engage in publicity-monging to win roles. As a result, Dorothy was surprisingly ill-served in the awards department during her over five-decade film career, yet left a major imprint on celluloid. Touching, complex, immaculate in poise and style, she is now and forever etched in Hollywood's "Golden Age" annals and in the minds of film lovers everywhere.
Dorothy began inconspicuously enough in Omaha, Nebraska on Wednesday, June 14th, 1916. Her parents encouraged her early interest in acting and she made her debut as a teenager in "A Kiss for Cinderella" at the Omaha Community Playhouse which starred visiting alumni member Henry Fonda. She received her education at Omaha Junior College, Ladywood Convent in Indianapolis, and Pine Manor Junior College in Wellesley, Massachusetts before setting her sites on an acting career. Following summer stock she appeared in such 1938 stage productions as "Bachelor Born" and "Stopover" before understudying the role of Emily Gibb in Thornton Wilder's "Our Town" on Broadway, which at the time showcased young Martha Scott. Dorothy eventually replaced Scott in the role.
Other experiences came her way on stage with "My Dear Children" starring John Barrymore, "Swingin' the Dream", "Medicine Show", "The Time of Your Life" and "Kind Lady" before she was handed the titular role of "Claudia" in 1941. This gentle comedy became a certifiable Broadway hit and Dorothy simply incandescent as the child-like bride forced to wake up to reality after her sudden marriage. David O. Selznick subsequently signed her to a film contract. Fortunately, 20th Century-Fox, untrue to form, took a chance on the film unknown and allowed her to recreate her stage triumph opposite Robert Young. Claudia (1943) was so beautifully done and warmly received that McGuire and Young went on to recreate their roles three years later with Claudia and David (1946).
Unbelievably, Dorothy topped herself in only her second film role. After a pregnant Gene Tierney became unavailable for the role of Katie Nolan in A Tree Grows in Brooklyn (1945), the part fell to Dorothy. It's now hard to believe anyone else in the role. As the impoverished wife of a charming Irish ne'er-do-well and inebriate, Dorothy showed amazing complexity as the detached wife and mother whose painful but necessary decision-making alienates many around her, especially her daughter who is the apple of her daddy's eye. Directed by Elia Kazan, Dorothy was shamefully overlooked at awards time. Young Peggy Ann Garner was given a "special juvenile Oscar" and errant husband James Dunn picked up the Supporting Actor trophy for his work. Dorothy was not of the mind of tooting her own horn and it may have cost her an Oscar nomination -- better yet, the Oscar -- for she was hands down the better performer than eventual winner Joan Crawford, a popular choice for Mildred Pierce (1945).
Dorothy made it four film hits in a row with the success of both the sentimental fantasy The Enchanted Cottage (1945), in which she reunited with Robert Young to play two of society's castoffs who fall in love, and the expert Hitchcockian thriller The Spiral Staircase (1946) as the mute servant who is terrorized by a serial killer. Preferring rich characterizations over glamour, audiences saw Dorothy dolled up a bit more than usual in Till the End of Time (1946) as a war widow who falls for a younger hunk (Guy Madison). Her 40s filming was capped by a Best Actress nomination in Gentleman's Agreement (1947), an-anti-Semitic tale that boasted a topnotch ensemble cast including Gregory Peck, John Garfield and Celeste Holm, who won a supporting Oscar for this.
With nary a weak film yet on her resume, an unpretentious Dorothy still hadn't achieved top cinematic stardom. Preferring to return to her theater roots, she abandoned films for a couple of years and performed in such vehicles as "Tonight at 8:30" (1947) and "Summer and Smoke" (1950). When she did return it was to a different Hollywood and things would not be the same. Instead forgettable fluff such as Mother Didn't Tell Me (1950) and Callaway Went Thataway (1951) were the slim pickings offered. Although she found a popular hit with Three Coins in the Fountain (1954), the film was more notable for its title song and sumptuous settings than for the quality of acting of the three distaff stars -- McGuire, Maggie McNamara and Jean Peters.
Dorothy graciously moved into pillar-of-strength mother roles as she approached her 40s, making fine impressions as a Quaker matriarch in Friendly Persuasion (1956) and as the resourceful mom in three of Disney's endearing classics, Old Yeller (1957), Swiss Family Robinson (1960) and Summer Magic (1963). Her more flawed marital and parenting skills were displayed in the Inge film adaptation of The Dark at the Top of the Stairs (1960), and the huge, sudsy teen hit A Summer Place (1959) with Sandra Dee and Troy Donahue as young, star-crossed lovers. McGuire acted as Donahue's mother who rekindles an old love affair with Dee's father (Richard Egan). The 49-year-old McGuire then played the mother of all mothers, the Virgin Mary, in the misguided biblical epic The Greatest Story Ever Told (1965), marred by its overlong narrative and bizarre miscasting, including John Wayne as a Roman centurion. Her last film, the British-made Flight of the Doves (1971) as an Irish granny, had little impact.
In later years Dorothy found rich, rewarding work on TV and received an Emmy nomination for the well-received mini-series Rich Man, Poor Man (1976). She also played Marmee in a TV revisitation of Part I (1978), and ended her career in good company with (what else?) a sentimental tearjerker in the mini-movie The Last Best Year (1990) co-starring Bernadette Peters and Mary Tyler Moore.
Dorothy's longtime husband was photographer John Swope who died in 1979. Her children by him are Mark Swope, an artist and photographer, and former actress Topo Swope. Dorothy's health declined severely after she fell and broke her leg in 2001. She died of heart failure not long after in a Santa Monica hospital on Friday, September 14th at the age of 85.- Actress
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Colorado-born leading lady Julie Bishop, who also acted under her birth name of Jacqueline Wells and the stage name Diane Duval, started off as a silent movie child actress, working with such legends as Clara Bow and Mary Pickford.
The daughter of a wealthy banker and oilman, she was raised in Texas and, eventually Los Angeles, following her parents' divorce. She was signed by Warner Bros in 1940 and played a dutiful sweethearts opposite filmdom's top male stars, notably Errol Flynn in Northern Pursuit (1943), Humphrey Bogart in Action in the North Atlantic (1943), John Wayne in both Sands of Iwo Jima (1949) and The High and the Mighty (1954), and Alan Ladd in The Big Land (1957), her last picture. But, for the most part, she was never given anything challenging enough to become a top-flight star.
She also appeared on stage in "Hamlet" and "The Merchant of Venice". A licensed private pilot, Julie painted still lifes and staged several exhibitions in her post-career years. She died at age 87, on her birthday.- Actor
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Troy Donahue was a journalism student at Columbia University when he began playing in stock productions. He made his film debut in Man Afraid (1957) and in 1959 signed as a contract player with Warner Bros., which promoted him to stardom with A Summer Place (1959) that year. He was soon a teenage heartthrob, his blond hair and blue eyes appearing frequently on the covers of movie magazines. His most successful film was Parrish (1961), in which he played the title character. A few years after that his career went into a decline; he made only a few television movies between the mid-'60s and his small role in The Godfather Part II (1974) (in which his character's name, Merle Johnson, was actually his real name). His later films were almost entirely for the low-budget home video market, e.g., Sexpot (1990) and Nudity Required (1989).
On August 30, 2001, Donahue suffered a heart attack and was admitted to the hospital in Santa Monica, California. He died three days later on September 2 at the age of 65.- Actress
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American leading lady of musical westerns of the 1940s. Born Frances Octavia Smith in Uvalde, Texas. She was raised in Texas and Arkansas. Married at 14 and a mother at 15, she was divorced at 17 (some sources say widowed). Intent on a singing career, she moved to Memphis, Tennessee, and worked in an insurance company while taking occasional radio singing jobs. After another unhappy marriage, she went to Louisville, Kentucky, and became a popular singer on a local radio station. There she took the stage name Dale Evans (from her third husband, Robert Dale Butts, and actress Madge Evans). Divorced in 1936, she moved to Dallas, Texas, and again found local success as a radio singer. She married Butts and they moved to Chicago, where she began to attract increasing attention from both radio audiences and film industry executives. She signed with Fox Pictures and made a few small film appearances, then was cast as leading lady to rising cowboy star Roy Rogers. She and Rogers clicked and she became his steady on-screen companion. In 1946, Rogers' wife died and Evans' marriage to Butts ended about the same time. Rogers and Evans had been close onscreen in a string of successful westerns, and now became close off-screen as well. A year later she married Rogers and the two become icons of American pop culture. Their marriage was dogged by tragedy, including the loss of three children before adulthood, but Evans was able not only to find inspiration in the midst of tragedy but to provide inspiration as well, authoring several books on her life and spiritual growth through difficulty. She and Rogers starred during the 1950s on the popular TV program bearing his name, and even after retirement continued to make occasional appearances and to run their Roy Rogers and Dale Evans Museum in Victorville, California. Following Dale's death, the Roy Rogers and Dale Evans Museum moved to Branson, Missouri.- Actor
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Another in the long line of dramatically handsome foreign imports who made an immediate impact on WWII Hollywood was debonair French actor Jean-Pierre Aumont. The epitome of grace and sophistication, the stylish leading man went on to have a long and respected career on stage, film and TV, both here and abroad.
Aumont was born Jean-Pierre Philippe Salomons on January 5, 1911 (some sources list 1909) in Paris, France, to Suzanne (Cahen), an actress, and Alexandre Abraham Salomons, a well-to-do department store executive. His brother, François Villiers (né Francois Salomons), went on to become a film writer/director. His father was a Dutch Jew and his mother was from a French Jewish family; he was of both Ashkenazi and Sephardi ancestry. Jean-Pierre was transferred from various prep schools before enrolling at the Paris Conservatory of Dramatic Art at the age of 16. Run by the renowned Louis Jouvet, young Aumont's first two film roles were prime roles in Jean de la Lune (1931) and Échec et mat (1931). He then went on to appear strongly in a number of Gallic films. He also made an impressive theater debut playing the role of Oedipus in Jean Cocteau's "La Machine Infernale" at the Comedie Champs-Elysees in 1934, which set up a long and lucrative tenure on the stage. Splitting his time between live performances and film-making opposite such lovelies as Simone Simon, Danielle Darrieux and Annabella), Aumont served with the French Third Mechanized Division for nearly a year (1939-1940) and earned a medal of distinction for his valour (Croix de Guerre). Two of his finest screen roles came just prior to this: 'Marcel Carne''s farcical comedy Bizarre, Bizarre (1937) starring mentor Louis Jouvet, and the romantic drama Hotel du Nord (1938) opposite the lovely Annabella and co-starring Jouvet again.
Aumont arrived in America barely speaking English in 1942 and only a few days later was "discovered" by stage legend Katharine Cornell, making his American debut in her production of "Rose Burke". During the play's Los Angeles engagement, he was signed by MGM for films and made a noticeable debut as Captain Pierre Matard in the espionage war picture Assignment in Brittany (1943) co-starring the tragic Susan Peters. Classily promoted as an up-and-coming Jean Gabin, the lithe, handsome, blue-eyed blond captured the admiration of the American public with his Charles Boyer-like charm and charisma. His second American film was the equally successful The Cross of Lorraine (1943), a dramatic Stalag 17-like story of French POW's held in a German war camp.
The lovely Technicolor siren Maria Montez, known for her popular (and campy) WWII escapism films at Universal, quickly caught his eye and the couple married in 1943 after only a three-month courtship. An earlier marriage to French's Blanche Montel had ended in divorce in 1940, well before his arrival in America. Aumont again interrupted his burgeoning acting career by serving with the Free French forces in North Africa and was again awarded a medal (Legion of Honor) for his bravery. He was twice wounded during his active years of service.
The French actor returned to Hollywood films after the war co-starring with Ginger Rogers in the comedy Heartbeat (1946) and appearing as composer Nikolai Rimsky-Korsakov in Universal's Song of Scheherazade (1947). The reception to both were lukewarm and Aumont decided to return to France with his wife (whose career was now in decline), and his daughter (who was born in 1946 and grew up to become the actress Tina Aumont). Seeking to rediscover his earlier glory in European films and the theatre, he also began writing plays. Now and then he would return to the American soil and appeared on Broadway in 1949 with his work "Figure of a Girl," which was retitled "My Name Is Aquilon" by the time it arrived on the Great White Way. While it co-starred the embraceable Lilli Palmer, who was also making her Broadway debut, the play itself was not as embraced.
On the international film scene, Aumont appeared with wife Maria in such uninspired offerings as the United Artist escapist fare Siren of Atlantis (1949), the French crime drama Wicked City (1949) [Wicked City] and the Italian adventure La vendetta del corsaro (1951)_ [The Revenge of the Pirates], the last-mentioned proving to be the last for the fetching Ms. Montez. The 39-year-old star tragically drowned in September of 1951 after her hot mineral salt bath triggered a heart seizure.
After a period of grieving, Aumont continued transcontinentally, but rather unspectacularly, with acting parts that seemed hardly challenging. He cavorted with Paulette Goddard in the mediocre action adventure Charge of the Lancers (1954); appeared among an international cast in the spectacle Napoleon (1955); co-starred rather stiffly opposite Jean Simmons in the glossy "sudspenser" Hilda Crane (1956); was overshadowed by Eleanor Parker, who paled next to Garbo in the remake of Garbo's "The Painted Veil" entitled The Seventh Sin (1957); and, played a cameo as the doomed Louis XVI in the US-based John Paul Jones (1959) co-starring wife Marisa. On a more positive note, he, Mel Ferrer and the ever-enchanting Leslie Caron were wonderful in MGM's touching musical Lili (1953). Aumont also fared much better in his 1950s televised appearances of classic works, notably "Arms and the Man" and "Crime and Punishment".
Following a torrid 1955 romance with Grace Kelly (whom, as we all know, went on to marry her Prince), the actor met and married lovely Italian actress Marisa Pavan, the sister of the late Pier Angeli, in 1956, and had two sons, Jean-Claude and Patrick, by her. Troubled by his erratic output and the uneventful film roles offered, which included those in The Enemy General (1960), The Devil at 4 O'Clock (1961) and Five Miles to Midnight (1962) [Five Miles to Midnight], Aumont wisely refocused on the theatre and his playwriting skills. Stage performances included "The Heavenly Twins" and "A Second String" (both on Broadway), the title role in "The Affairs of Anatol", "Murderous Angels" and appearances in the musicals "Tovarich" with Vivien Leigh (on Broadway), "Jacques Brel Is Alive and Well and Living in Paris," "South Pacific" (as the debonair Emile DeBecque), and "Gigi" with wife Marisa. The couple also went on to form a warmly-received nightclub act in New York.
For the remainder of his career, Aumont remained the ever-charming and worldly continental, vacillating between the stage ("Camino Real," "Private Lives," "The Sound of Music" and "Tiger at the Gates"); international films (Castle Keep (1969), Catherine & Co. (1975), Mahogany (1975), Nana (1983), Sweet Country (1987), Becoming Colette (1991) and a pair of Merchant/Ivory films Jefferson in Paris (1995) and The Proprietor (1996)): and classy TV fare (The Memory of Eva Ryker (1980), Melba (1988), A Tale of Two Cities (1989)). Some of the actor's finest movie roles in years occurred in the 1970s with the excellent Day for Night (1973) [Day for Night] and Cat and Mouse (1975) [Cat and Mouse].
The distinguished actor/playwright went awardless throughout his cinematic career but this glaring oversight was finally rectified in the form of the cross of Commandeur des Arts et des Lettres in 1991 and an honorary César Award in 1992. He died in his native country of a heart attack a few weeks after his 90th birthday in 2001.- Pauline Kael was born in Petaluma, CA, in 1919, and attended the University of California at Berkeley in the 1930s. She tried and failed to work as a playwright in her 20s, and began writing film reviews as a freelance writer for film journals in the 1950s. After success with national magazines in the 1960s and publishing her first book, "I Lost It At the Movies,", she became a film critic for The New Yorker in 1968, and wrote for that magazine until 1991. She published 13 books of her essays and criticism, and won the National Book Award in 1974, and wielded power and influence, even after retiring. She passed away on September 3, 2001.
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James Hill was born on 1 August 1916 in Jeffersonville, Indiana, USA. He was a producer and writer, known for Sweet Smell of Success (1957), His Majesty O'Keefe (1954) and Thunder in the Sun (1959). He was married to Rita Hayworth. He died on 11 January 2001 in Santa Monica, California, USA.- Producer
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Educated at Northwestern University, Frederick De Cordova began his show business career on the stage, and came to Hollywood in the mid-'40s as a dialogue director. He graduated to director in 1945. He spent much of his career at Universal Pictures, where he turned out medium-budget westerns, comedies and musicals. In the mid-'50s he turned his main focus to television, directing and producing The George Burns and Gracie Allen Show (1950), The Jack Benny Program (1950) and December Bride (1954). Although he directed an occasional feature, he was much more successful on TV, and in 1971 became executive producer of the long-running late-night talk show The Tonight Show Starring Johnny Carson (1962).- Producer
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Jack Haley Jr. was born on 25 October 1933 in Los Angeles, California, USA. He was a producer and director, known for Hollywood and the Stars (1963), Life Goes to War: Hollywood and the Home Front (1977) and Movin' with Nancy (1967). He was married to Liza Minnelli. He died on 21 April 2001 in Santa Monica, California, USA.- Actress
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Known to classic film fans by various nicknames--including Miss Deadpan, Frozen Face, and Miss Ice Glacier--this statuesque, dark-haired singer/actress carved a unique niche for herself on stage and screen by the hilarious Sphinx-like way she delivered a song. The daughter of the captain of detectives of the Los Angeles Police Department, Virginia Lee O'Brien became interested in music and dance at an early age (it didn't hurt her career chances that her uncle was noted film director Lloyd Bacon). Her big show-business break came in 1939 after she secured a singing role in the L.A. production of the musical/comedy "Meet the People". On opening night, when time came for her solo number, Virginia became so paralyzed with fright that she sang her song with a wide-eyed motionless stare that sent the audience (which thought her performance a gag) into convulsions. Demoralized, Virginia left the stage only to soon find out that she was a sensation.
Signed by MGM in 1940, she deadpanned her way to acclaim and immense popularity with appearances in some of the studio's most memorable musicals including Thousands Cheer (1943), The Harvey Girls (1946), Till the Clouds Roll By (1946), Ziegfeld Follies (1945), Panama Hattie (1942), Ship Ahoy (1942), Meet the People (1944) and Du Barry Was a Lady (1943), performing inimitable renditions of such classic songs as "The Wild Wild West" (from The Harvey Girls), "A Fine Romance" (from Till the Clouds Roll By (1946)), "It's a Great Big World" (from The Harvey Girls (1946)), "Poor You" (from Ship Ahoy (1942)), and "Say We're Sweethearts Again" (from Meet the People (1944)).
Although too often relegated to featured songs and small supporting roles, she still managed to become an audience favorite by the sheer force of her personality, polished vocals and way with a comic quip. The latter ability is especially apparent in one of her last MGM films, Merton of the Movies (1947), in which she co-starred with Red Skelton. In 1948, after 17 memorable screen appearances for MGM, the studio unceremoniously dropped her from its roster. She returned to films only twice more after her termination from MGM, in Universal's Francis in the Navy (1955) and Disney's Gus (1976), preferring to focus her energies on television and the stage, where she delighted audiences for three more decades.
In the 1980s the still youthful beauty toured the country in a one-woman show and recorded a live album at the famed Masquers Club entitled, "A Salute to the Great MGM Musicals". One of her last significant stage appearances came in 1984 as Parthy Ann in the Long Beach Civic Light Opera's production of "Showboat", with Alan Young. She remained in semi-retirement in a large home in Wrightwood, California, for most of her later years until her death at the Motion Picture Country Hospital in Woodland Hills in January, 2001.- Actress
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Petite, seductive French leading lady who underwent several early career changes before settling on the acting profession. Corinne Calvet first studied criminal law at France's renowned Sorbonne, but then turned her attention to interior decoration specializing in fine arts and antiques. After studying at the L'Ecole du Cinema in Paris, she made her debut on the stage and also worked as a radio hostess. Small film roles followed. From the time Corinne was 'discovered' by famous producer Hal B. Wallis, brought to America, and signed to a contract with Paramount in 1947, her life developed into a decade-long roller-coaster of feuds, lawsuits, publicity stunts and even an attempted suicide by sleeping pills.
Corinne's Hollywood career got off to a turbulent start, the fiery actress heatedly challenging Wallis over the size of her salary. In spite of growing animosity between her and the producer, she was eventually cast in her first Paramount picture, Rope of Sand (1949) , a film noir set in South Africa and co-starring Burt Lancaster and Paul Henreid. The film emphasized Corinne's sultry appeal and her sexy, somewhat husky voice. She played a nightclub singer, which worked well since she could actually sing (and did so at the famed Manhattan night club Le Cupidon in 1952). The New York Times review (August 4th, 1949) remarked that the cast, though playing somewhat shady characters, were "all products of good acting, and therefore are strangely interesting".
"Rope of Sand" garnered mostly good reviews and was certainly one of the better roles Corinne was to find in Hollywood. Though she featured opposite a number of big-name stars, such as Danny Kaye and James Cagney, she was largely consigned to be the ornamental French dessert. Of her part in On the Riviera (1951), Bosley Crowther commented that she was "pretty, but neglected" (NY Times May 24th, 1951). Corinne (Miss Golden Globe 1952), later gave vent to her frustration at having never been given a proper chance to display her acting range in her 1983 memoir 'Has Corinne Been a Good Girl?'.
The headlines made in her private life often overshadowed her screen career. One highly publicized (and apparently staged) incident had her suing actress Zsa Zsa Gabor over a statement made to, among others, a newspaper columnist, claiming that Corinne's French background was a studio invention. In another, more bizarre, instance in 1967, her then-boyfriend claimed in court that she had 'used voodoo on him' in order to gain control of his finances. There were also two acrimonious and very public divorces from actors John Bromfield and Jeffrey Stone.
From the mid 1950's, Corinne began to appear in international co-productions, dividing her time between Los Angeles and her lavishly furnished top floor apartment at the Avenue MacMahon, near the Arc de Triomphe, in Paris. After the publication of her memoir in 1983, Corinne retired from acting and re-invented herself as a therapist, specializing in hypnosis. She settled down in Santa Monica, California, where she died in June 2001.- Cinematographer
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Henri Alekan was born on 10 February 1909 in Paris, France. He was a cinematographer and director, known for Wings of Desire (1987), Roman Holiday (1953) and Beauty and the Beast (1946). He was married to Nadia Starcevic. He died on 15 June 2001 in Auxerre, Yonne, France.- Additional Crew
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Herbert Ross was born on 13 May 1927 in Brooklyn, New York City, New York, USA. He was a director and producer, known for The Turning Point (1977), The Goodbye Girl (1977) and The Secret of My Success (1987). He was married to Lee Radziwill and Nora Kaye. He died on 9 October 2001 in New York City, New York, USA.- Cinematographer
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John A. Alonzo was born on 12 June 1934 in Dallas, Texas, USA. He was a cinematographer and actor, known for Chinatown (1974), The Magnificent Seven (1960) and Star Trek: Generations (1994). He was married to Suzanne L. Heltzel and Jan Murray. He died on 13 March 2001 in Beverly Hills, California, USA.- Actor
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Character actor and playwright Jason Miller had a variety of jobs before he started a writing career and wrote his own play, "That Championship Season", for which he received the Pulitzer Prize Award. Miller gave up his professional writing career in the early seventies to start acting. In 1973, he starred as a troubled priest in the horror film classic The Exorcist (1973), for which he received an Academy Award nomination for Best Supporting Actor. In 1982, he directed the revival of his play, That Championship Season (1982), to the screen. The father of actor Jason Patric and actor/director/writer Joshua John Miller, Miller's other film credits include playing the title role in the made-for-television film F. Scott Fitzgerald in Hollywood (1975), The Ninth Configuration (1980), Toy Soldiers (1984), The Exorcist III (1990) and Rudy (1993)". Miller died in Scranton, Pennsylvannia at the age of 62.- Actress
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Rosemary Shirley DeCamp was the quintessential small-town American mother, a calming and steadying presence in scores of films in the 1940s and 1950s. She came to Hollywood after a successful career on the stage and in radio, making her film debut in 1941. Though she worked for many studios, she was most closely associated with Warner Bros., for whom she made many pictures, often playing a young mother or the friend or sister of the heroine. Her best-known role was probably as the mother of George M. Cohan (played by James Cagney) in the classic Yankee Doodle Dandy (1942). She also did a lot of work on television; she was a regular on The Bob Cummings Show (1961) and played Marlo Thomas's mother on That Girl (1966).- Producer
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By the early 1950s, future movie mogul Samuel Z. Arkoff was a brash 30-ish lawyer scratching out a living by representing his in-laws and the Hollywood fringe, which included many of now infamous director/angora-clad transvestite Edward D. Wood Jr.'s social circle. As a shark, Arkoff was physically imposing and capable of scaring the snot out of anyone who opposed him. One of his penny ante clients was Alex Gordon, a screenwriter who had submitted an unsolicited script to Realart Pictures, an outfit that was profitably re-releasing 20-year-old movies, often under new titles conjured up by its owner, Jack Broder. One such film, Man Made Monster (1941), had just been re-issued as "The Atomic Monster", coincidentally the same title of Gordon's screenplay. Arkoff, smelling blood in the water, paid Broder a visit and, incredibly, obtained a $500 settlement. Broder's sales manager, James H. Nicholson, was dumbfounded by Arkoff's ability to extract a dime, let alone $500, out of his notoriously tightfisted boss. He met with Arkoff and proposed a partnership, which led to the formation of American Releasing Corp. in 1954. The company's first release was Monster from the Ocean Floor (1954), a low-budget feature by 29-year-old producer'Roger Corman'. Made for less than $50,000, it netted $850,000 and Corman was brought into the fold as a silent partner. By 1955 the company was renamed American-International Pictures, generally known as AIP in the industry. Initially focusing on westerns on the premise that shooting on location was cheaper than renting space in a studio. Although the films were profitable, Arkoff was unhappy with the returns and solicited theater owners for advice on what types of films filled seats.
By the mid-'50s, thanks to television, movie audience numbers had dwindled considerably, with the key demographic now teenagers and young adults, who craved horror movies and, especially, drive-ins (where they could gather together without their parents). AIP jumped into the horror genre with both feet and made a fortune. Under the aegis of Nicholson and Arkoff, the company survived in a constricting industry by catering to the whims of the teenage trade and adapting to trends. AIP's long (350-plus) roster of kitsch classics, running the gamut from horror to rock-'n'-roll, from juvenile delinquency to Italian muscle men and from Edgar Allan Poe to Annette Funicello, have formed their own unique niche in film history. His company became infamous for clever advertising schemes that were often more entertaining than the films themselves. Arkoff never tolerated egos and his films were more often than not profitable, thanks to tight budgets and a clear understanding of the company's target market. After Nicholson's 1972 resignation, Arkoff assumed full control of the company and remained in charge until the 1979 merger with Filmways prompted his own departure. He then became the head of Arkoff International Pictures.- Director
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Michael Ritchie was born on 28 November 1938 in Waukesha, Wisconsin, USA. He was a director and producer, known for The Golden Child (1986), The Island (1980) and Fletch (1985). He was married to Jimmie Brown and Georgina Tebrock. He died on 16 April 2001 in New York City, New York, USA.- Director
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Brilliant, distinguished American director, particularly of Westerns, whose simple, bleak style disguises a complex artistic temperament. The adopted son of a wealthy hardware retailer, Boetticher attended Culver Military Academy and Ohio State University, where he excelled in football and boxing.
Following his schooling Boetticher, something of an adventurer, went to Mexico and transformed himself into a formidable professional matador. His school chum, Hal Roach Jr., used his film connections to get Boetticher minor jobs in the film industry, most importantly the job of technical adviser on the bullfighting romance Blood and Sand (1941). By studying the work of the film's director, Rouben Mamoulian, and from editor Barbara McLean, he gained a thorough grounding in filmmaking.
After an apprenticeship as a studio messenger and assistant director, he was given a chance to direct, first retakes of scenes from other directors' films, then his own low-budget projects. For producer John Wayne Boetticher filmed his first prominent work, a fictionalization of his own experiences in Mexico, Bullfighter and the Lady (1951), although the work was re-edited without Boetticher's approval by his mentor, John Ford (the director's cut was restored several decades later).
Following a number of sprightly but inconsequential programmers in the early 1950s, Boetticher formed a partnership with actor Randolph Scott which, with the participation of producer Harry Joe Brown and writer Burt Kennedy, led to a string of the most memorable Western films of the 1950s, including 7 Men from Now (1956) and The Tall T (1957). He directed a sharp gangster film, The Rise and Fall of Legs Diamond (1960), then, with his wife Debra Paget, left for Mexico to film a monumental documentary on famed matador Carlos Arruza. The travail of the next seven years, which Boetticher detailed in his autobiography "When In Disgrace", included near-fatal illness, divorce, incarceration in jails, hospitals and an insane asylum, and the accidental deaths of Arruza and most of the film crew. The film, Arruza (1972), was both an exquisite documentary and a testament to Boetticher's immutable drive. Though he returned to Hollywood to form a partnership with Audie Murphy, they completed only one film together before Murphy's death in 1971.
Since then Boetticher completed another documentary and had announced several feature films in preparation. He died at age 85.- Producer
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Getting his start in the movie business in Universal's contract and playdate department in New York City, Howard W. Koch moved on to 20th Century-Fox as a film librarian and then entered production as second assistant director on The Keys of the Kingdom (1944). After many films as assistant director, Koch joined forces with his professional benefactor Aubrey Schenck and Edwin F. Zabel to strike a three-picture production deal with United Artists that was to start with the western War Paint (1953). The success of these pictures opened up the deal for more UA films by Koch, Schenck and Zabel (Bel-Air Productions). With Schenck, Koch produced TV's Miami Undercover (1961) and also worked as a director on such series as Maverick (1957), Hawaiian Eye (1959), Cheyenne (1955) and The Untouchables (1959). From 1961 to 1964 Koch was vice-president in charge of production for Sinatra Enterprises; among his many executive-producer credits during this period was the chilling The Manchurian Candidate (1962). He became the production head at Paramount in 1964 and then shifted gears two years later to form his own production unit, which supplied major features to Paramount for years. By all accounts one of the best-loved men in Hollywood, Koch was a recipient of the Jean Hersholt Humanitarian Award at the 1990 Oscarcast.- Actress
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Actress, author, producer, and Photoplay's "Most Popular Actress of 1961," the daughter of Ice Capades skating stars and choreographers Nathan and Edith Walley. She was skating with her parents at age three, but resisted her father's urging to continue, opting to study acting at the New York Academy of Dramatic Arts. Her stage debut was at 14, in a summer-stock production of "Charley's Aunt". When she moved to Arizona to raise her three sons, she co-founded two children's theater companies (Pied Piper Productions and Sedona Children's Theater), introducing live theater and teaching acting to disadvantaged children. She also founded the Swiftwind Theater Company, writing film scripts and training American Indian actors and production-crew members. Her 1990 short film Legend of 'Seeks-to-Hunt-Great' (1989), starring Michael Horse, was awarded the National Cine Golden Eagle, the Oklahoma Tribal Council Award for best fiction film, the 1991 Algrave (Portugal) International Video Festival best-of-festival award, and the American Indian Film Festival's best short-subject award. She incorporated the story line -- an Indian boy's appreciation of nature while following a mountain lion -- into her 1993 children's book "Grandfather's Good Medicine." Deborah Walley also wrote scripts for her own production companies, for other children's films, and for Disney Animation, for which she supplied cartoon voice-overs.- Actress
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Kathleen Freeman's introduction to show business came very early in life. Her parents were vaudevillians, and she made her debut at age 2 in their act. Later she attended UCLA with intentions of becoming a pianist, but was bitten by the acting bug and never looked back. She gained experience on stage in various stock and repertory companies, and made her film debut in 1948. One of the most memorable character actresses in recent memory, her stocky build, incredibly expressive face and hearty laugh have kept audiences convulsed for decades, playing a variety of neighborhood gossips, busybodies and eccentrics. Memorable as Sister Mary Stigmata ("The Penguin"), Dan Aykroyd's and John Belushi's nemesis, in The Blues Brothers (1980). She was used as a comic foil by Jerry Lewis in many of his films, always to great advantage. She did much television work, playing in everything from The Dick Van Dyke Show (1961) to Gomer Pyle: USMC (1964) to Hogan's Heroes (1965) to Married... with Children (1987), where she was the voice of Peg's monstrous but never-seen mother, Al Bundy's nemesis. She was working on Broadway in a production of "The Full Monty" when she died of lung cancer in 2001.- Actor
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Ray Walston started his acting career as a spear carrier with a local stock company. When the family moved to Houston, Texas, Walston's father wanted to teach him the oil business, but Walston instead joined a traveling repertory company (selling tickets as well as acting). He went on to associate with Margo Jones at the Houston Civic Theater for six years, then spent three seasons with the Cleveland Playhouse before arriving in New York in 1945. He has won a Tony Award for his performance as the Devil in Broadway's "Damn Yankees", two Emmy Awards for Picket Fences (1992), and become a household name playing the extraterrestrial "Uncle Martin" on My Favorite Martian (1963). Ray Walston died at age 86 of lupus on New Year's Day 2001 in Beverly Hills, California.- Writer
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Ken Hughes was an award-winning writer and director who flourished in the 1950s and 1960s, though he continued directing into the early 1980s. Born in Liverpool, England, on January 19, 1922, Hughes decided early in his life that he wanted to be a filmmaker. When he was 14 years old he won an amateur movie-making contest.
In 1952 his first feature, the crime drama Wide Boy (1952), was released. By 1955 he was working with imported American character actor Paul Douglas in the quirky Joe MacBeth (1955), a retelling of William Shakespeare's tragedy recast as a modern film noir. Hughes directed the movie and wrote the screenplay. That film led to his directing more English pictures with imported Hollywood B-list stars, including Arlene Dahl and Victor Mature. In a reverse of the Atlantic trade, he exported a script to the US, which was picked up by "Alcoa Theater" and aired as Eddie (1958), starring Mickey Rooney and directed by Jack Smight. It brought Hughes an Emmy Award for his teleplay.
His favorite of his many movies was The Trials of Oscar Wilde (1960), starring Peter Finch as the doomed writer. He was nominated for three BAFTA Awards and Finch took home the BAFTA as Best Actor. It also won the Samuel Goldwyn Award for Best English-Language Foreign Film at the Golden Globes.
During the 1960s Hughes worked on A-List pictures, including Of Human Bondage (1964), an adaptation of W. Somerset Maugham's book, but it did not make anyone forget the Bette Davis-Leslie Howard classic of 30 years earlier (Of Human Bondage (1934)). He also toiled as one of the five directors on the cinematic mishmash Casino Royale (1967), which was a box-office smash but a critical bomb.
His greatest hit was the adaptation of another Ian Fleming work, his children's book Chitty Chitty Bang Bang (1968). The movie was a huge hit, but Hughes was dissatisfied with it. His next picture, the historical epic Cromwell (1970) (1970), got good reviews, but did not burn up the turnstiles at theaters.
His career slowed down in the 1970s, the low point of which was undoubtedly his directing 83-year-old Mae West, vamping eternally as the 30-something sexpot she imagined herself in her mind, in the Golden Turkey Sextette (1977), a critical and box-office dud. He ended his career directing the exploitation film Night School (1981), a slasher pic starring a then-unknown Rachel Ward.
After a period of declining health, Ken Hughes died on April 28, 2001, in Los Angeles. He was 79 years old.- Director
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American screenwriter and director--particularly of westerns--Burt Kennedy was the son of performers. He was part of their act, "The Dancing Kennedys", from infancy. He served in World War II as a cavalry officer and was highly decorated. After the war he joined the Pasadena Community Playhouse, but was ousted after one play as an actor for missing rehearsal. He found a job writing radio programs such as "Hash Knife Hartley" and "The Used Story Lot", then used his army fencing training to land work as a stunt fencer in films. Kennedy was hired to write 13 scripts for a proposed television program, "Juan and Diablo", with plans for John Wayne's Batjac Co. contract player Pedro Gonzalez Gonzalez to star. The show was never produced, but Kennedy was kept on at Batjac to write films for producer Wayne. His initial effort, 7 Men from Now (1956), was a superb western, the first of the esteemed collaboration between director Budd Boetticher and star Randolph Scott. Kennedy wrote most of that series, as well as a number of others for Batjac, although it would be nearly 20 years before Wayne actually appeared in the film of a Kennedy script. In 1960 Kennedy got his first job as director on a western, The Canadians (1961), but it was a critical failure. He turned to television where he wrote and directed episodes of Lawman (1958), The Virginian (1962) and most notably Combat! (1962). He returned to films in 1965 with the successful The Rounders (1965), later producing and directing the pilot for the TV series of the same name.
His output since then has consisted of a number of popular Westerns, both theatrical and for television, as well as an occasional non-Western, but always with his trademark humor and stylish dialogue.- Producer
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Stanley Kramer was born on 29 September 1913 in Hell's Kitchen [now Clinton], Manhattan, New York City, New York, USA. He was a producer and director, known for Judgment at Nuremberg (1961), Guess Who's Coming to Dinner (1967) and Inherit the Wind (1960). He was married to Karen Sharpe, Anne P. Kramer and Marilyn Erskine. He died on 19 February 2001 in Woodland Hills, Los Angeles, California, USA.- Actor
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Carroll was born in Manhattan and raised in Forest Hills, a heavily Jewish community in New York City's borough of Queens. After graduating from high school in 1942, O'Connor joined the Merchant Marines and worked on ships in the Atlantic. In 1946, he enrolled at the University of Montana to study English. While there, he became interested in theater. During one of the amateur productions, he met his future wife, Nancy Fields, whom he married in 1951. He moved to Ireland where he continued his theatrical studies at the National University of Ireland. He was discovered during one of his college productions and was signed to appear at the Dublin Gate Theater. He worked in theater in Europe until 1954 when he returned to New York. His attempts to land on Broadway failed and he taught high school until 1958. Finally in 1958, he landed an Off-Broadway production, "Ulysses in Nighttown". He followed that with a Broadway production that was directed by 'Burgess Meredith', "God and Kate Murphy", in which he was both an understudy and an assistant stage manager. At the same time, he was getting attention on TV. He worked in a great many character roles throughout the 1960s. A pilot for "Those Were The Days" was first shot in 1968 based on the English hit, "Till Death Do Us Part", but was rejected by the networks. In 1971, it was re-shot and re-cast as All in the Family (1971) and the rest is history.- Actress
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As a baby, she was winning beauty contests; as a teenager, with good looks and an attractive contralto voice, she was singing with big bands (most notably Enric Madriguera's orchestra in Latin Club Del Rio in Washington, D.C.. She met Rudy Vallee, her first husband, on the radio where she also enjoyed a brief stint as a singer. At age 15, an attack of palsy left her face partially paralyzed. She claimed that it was through facial exercises to overcome the paralysis that she learned the efficacy of facial expression in conveying human emotion, a skill she was renowned for using in her acting.- In her long career, Beatrice Straight did quite a bit of work in the movies, despite plying her trade mostly onstage. When she did grace the silver screen, she did it with great skill. Her first love was theater, having debuted on Broadway in the 1935 "Bitter Oleander". Her work garnered her much acclaim, including laurels in her Tony-winning performance for which she won the award for best supporting actress as Elizabeth Proctor in the 1953 production of Arthur Miller's "The Crucible". In addition to theater and movies, she gave us notable work on television. In 1978, she won an Emmy nomination for her part as the matriarch Alice Dain Leggett in the miniseries The Dain Curse (1978). No less stately, she played the part of Lynda Carter's Queen Mother in the 1970s Wonder Woman (1975) series. Her life was touched by that same kind of elegance and stateliness that she often portrayed onstage and on-screen. She was born Beatrice Whitney Straight in Old Westbury on Long Island. Her father, banker and diplomat Willard Dickerman Straight, associated with the likes of J.P. Morgan. Her mother, Dorothy Payne Whitney Straight, was an heiress of the Whitneys, a dynastic (in the sense of TV's own "Dynasty"), moneyed family on the eastern seaboard. Beatrice went to the best schools and caught the acting bug while a student in Devonshire, England, rendering a critically acclaimed performance in a school production of Ibsen's "A Doll's House." Her studies subsequently turned to acting, and she studied under the tutelage of Michael Chekhov, nephew of Russian playwright Anton Chekhov and a member of the Moscow Art Theatre. Their relationship was somewhat symbiotic in that she persuaded him to start an acting school, later teaching there herself. It was through her work in the theater that she met her husband Peter Cookson, appearing opposite him as leading lady in "The Heiress" in 1948. She is perhaps best known for her achievement in the 1976 movie Network (1976); after only three days of work in that movie in just a few scenes that actually made it into the final cut, Beatrice Straight contributed such a stellar performance that she earned the Academy Award for the best performance by a supporting actress.
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A master musician, a film producer and actor, best known as the lead guitarist and occasionally lead vocalist of The Beatles, George Harrison was born February 25, 1943, in Liverpool, Merseyside, England. He was also the youngest of four children, born to Harold Harrison and Louise Harrison.
Like his future band mates, Harrison was not born into wealth. Louise was largely a stay-at-home mom while her husband Harold drove a school bus for the Liverpool Institute, an acclaimed grammar school that George attended and where he first met a young classmate, Paul McCartney. By his own admission, Harrison was not much of a student and what little interest he did have for his studies washed away with his discovery of the electric guitar and American rock-'n'-roll.
There were a lot of harmonies in the Harrison household. He had a knack of sorts for it by age 12 or 13, while riding a bike around his neighborhood and hearing Elvis Presley's "Heartbreak Hotel", playing from a nearby house. By the age of 14 George--who was a fan of such legends as , Harrison, who grew up in the likes of listening to such rock legends Carl Perkins, Little Richard and Buddy Holly--had purchased his first guitar and taught himself a few chords.
McCartney', who had recently joined up with another Liverpool teenager, John Lennon, in a skiffle group known as The Quarrymen, invited Harrison to see the band perform. Harrison and Lennon had a few things in common, such as the fact that they both attended Dovedale Primary School but didn't know each other. Their paths finally crossed in early 1958. McCartney had been egging the 17-year-old Lennon to allow the 14-year-old Harrison to join the band, but Lennon was reluctant; as legend has it, after seeing McCartney and Lennon perform, George was granted an audition on the upper deck of a bus, where he wowed Lennon with his rendition of popular American rock riffs.
The 17-year-old Harrison's music career was in full swing by 1960. Lennon had renamed the band The Beatles and the young group began cutting its rock teeth in the small clubs and bars around Liverpool and Hamburg, Germany. Within two years, the group had a new drummer, Ringo Starr, and a manager, Brian Epstein, a young record store owner who eventually landed the group a record contract with EMI's Parlophone label.
Before the end of 1962, Harrison and The Beatles recorded a song, "Love Me Do", that landed in the UK Top 20 charts. Early that following year, another hit, "Please Please Me," was released, followed by an album by the same name. "Beatlemania" was in full swing across England, and by early 1964, with the release of their album in the US and an American tour, it had swept across the States as well.
Largely referred to as the "Quiet Beatle" Harrison took a back seat to McCartney, Lennon and, to a certain extent, Starr. Still, he could be quick-witted, even edgy. During the middle of one American tour, the group members were asked how they slept at night with long hair.
From the get-go, Lennon-McCartney were primary lead vocalists. While the two spent most of the time writing their own songs, Harrison had shown an early interest in creating his own work. In the summer of 1963 he spearheaded his first song, "Don't Bother Me," which made its way on to the group's second album. From there on out, Harrison's songs were a staple of all Beatle records. In fact, some of the group's more memorable songs--e.g., "While My Guitar Gently Weeps" and "Something," which was the only Beatle song ever recorded by Frank Sinatra--were penned by Harrison.
However, his influence on the group and pop music in general extended beyond just singles. In 1965, while on the set of The Beatles' second film, Help! (1965), Harrison took an interest in some of the Eastern instruments and their musical arrangements that were being used in the film. He soon developed a deep interest in Indian music. He taught himself the sitar, introducing the instrument to many western ears on Lennon's song, "Norwegian Wood"" He soon cultivated a close relationship with renowned sitar player Ravi Shankar. Other groups, including The Rolling Stones, began incorporating the sitar into some of their work. It could be argued that Harrison's experimentation with different kinds of instrumentation helped pave the way for such ground-breaking Beatle albums as "Revolver" and "Sgt. Pepper's Lonely Hearts Club Band".
Harrison's interest in Indian music soon extended into a yearning to learn more about eastern spiritual practices. In 1968 he led The Beatles on a journey to northern India to study transcendental meditation under Maharishi Mahesh Yogi.
Having grown spiritually and musically since the group first started, Harrison, who wanted to include more of his material on Beatle records, was clearly uneasy with the McCartney-Lennon dominance of the group. During the "Let It Be" recording sessions in 1969, Harrison walked out, staying away for several weeks before he was coaxed to come back with the promise that the band would use more of his songs on its records.
However, tensions in the group were clearly high. Lennon and McCartney had ceased writing together years before, and they, too, were feeling the need to go in a different direction. In January of 1970 the group recorded Harrison's "I Me Mine." It was the last song the four would ever record together. Three months later, McCartney announced he was leaving the band and The Beatles were officially over.
After the breakup of The Beatles, Harrison pursued a solo career. He immediately assembled a studio band consisting of ex-Beatle Starr, guitar legend Eric Clapton, keyboardist Billy Preston and others to record all the songs that had never made it on to The Beatles catalog. The result was a three-disc album, "All Things Must Pass". While one of its signature songs, "My Sweet Lord," was later deemed too similar in style to The Chiffons' 1963 hit "He's So Fine," forcing the guitarist to cough up nearly $600,000, the album as a whole remains Harrison's most acclaimed record.
Not long after the album's release, Harrison combined his charitable work and his continued passion for the east when he put together a series of ground-breaking benefit concerts at New York City's Madison Square Garden to raise money for refugees in Bangladesh. Known as the "Concert for Bangladesh", the shows, which featured Bob Dylan, Leon Russell, and Ravi Shankar, would go on to raise some $15 million for UNICEF, produced a Grammy-winning album, a successful documentary film (The Concert for Bangladesh (1972)) and laid the groundwork for future benefit shows like "Live Aid" and "Farm Aid".
Not everything about post-Beatle life went smoothly for Harrison, though. In 1974, his marriage to Pattie Boyd, whom he'd married eight years before, ended when she left him for Eric Clapton. His studio work struggled, too, from 1973-77, starting with, "Living in the Material World", "Extra Texture," and "33 1/3," all of which failed to meet sales expectations.
Following the release of that last album, Harrison took a short break from music, winding down his own label, Dark Horse Records--which he had started in 1974, and which had released albums by a number of other bands--and started his own film production company, Handmade Films. The company produced the successful Monty Python film Life of Brian (1979) and would go on to make 26 other films before Harrison sold his interest in the company in 1994.
In 1979, he returned to the studio to release his self-titled album. It was followed two years later by, "Somewhere in England," which was still being worked on at the time of John Lennon's assassination in December of 1980. The record eventually included the Lennon tribute track, "All Those Years Ago," a song that reunited ex-Beatles Paul McCartney and Ringo Starr, along with ex-Wings members Denny Laine and Linda McCartney. While the song was a hit, the album, its predecessor and its successor, "Gone Troppo," weren't. For Harrison the lack of commercial appeal and the constant battles with music executives proved draining and prompted another studio hiatus.
A comeback of sorts came in November 1987, however, with the release of the album "Cloud Nine," produced by Jeff Lynne (of Electric Light Orchestra). The album turned out several top-charting hits, including "Got My Mind Set On You"-- remake of the 1962 song by Rudy Clark--and "When We Was Fab," a song that reflected on the life of Beatlemania, with Ringo Starr and Paul McCartney, who was dressed up as a walrus, but was a camera shy, in February 1988. Later that year Harrison formed The Traveling Wilburys. The group consisted of Harrison, Lynne, Roy Orbison, Tom Petty and Bob Dylan, and spawned two successful albums. Buoyed by the group's commercial success, Harrison took to the road with his new bandmates in 1992, embarking on his first international tour in 18 years.
Not long afterwards he was reunited with McCartney and Starr for the creation of an exhaustive three-part release of a Beatles anthology--which featured alternative takes, rare tracks and a John Lennon demo called "Free as a Bird," that the three surviving Beatles completed in the studio. The song went on to become the group's 34th Top 10 single. After that, however, Harrison largely became a homebody, keeping himself busy with gardening and his cars at his expansive and restored home in Henley-on-Thames in south Oxfordshire, England.
Still, the ensuing years were not completely stress-free. In 1997, Harrison, a longtime smoker, was successfully treated for throat cancer. Eighteen months later, his life was again put on the line when a deranged 33-year-old Beatles fan somehow managed to circumvent Harrison's intricate security system and broke into his home, attacking the musician and his wife Olivia with a knife. Harrison was treated for a collapsed lung and minor stab wounds. Olivia suffered several cuts and bruises.
In May 2001, Harrison's cancer returned. There was lung surgery, but doctors soon discovered the cancer had spread to his brain. That autumn, he traveled to the US for treatment and was eventually hospitalized at the UCLA Medical Center in Los Angeles, CA. He died November 29, 2001, at ex-bandmate McCartney's house in Los Angeles, at aged 58, with his wife and son at his side.
Just one year after his death, Harrison's final studio album, "Brainwashed," was released. It was produced by Lynne, Harrison's son Dhani Harrison and Harrison himself, and featured a collection of songs he'd been working at the time of his death. Dhani finished putting the album together and it was released in November of 2002.- Actress
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Arlene Francis, the witty actress and popular television personality, was born Arlene Francis Kazanjian on Oct. 20, 1907, in Boston. Her father was an Armenian immigrant, later painter and portrait photographer; her mother was the daughter of actor Alfred Davis. Even at an early age, Arlene said, "I started out with one goal: I wanted to be a serious actress." She studied at the Theatre Guild and then went to Hollywood. Her movie debut was in Murders in the Rue Morgue (1932), in which Bela Lugosi (often cast as a villain or mad scientist in many of his over 40 horror movies) tied her to an X-cross to extract her blood (trivia: Arlene and Bela were both born on Oct. 20). The live theater, however, was her first love, and she appeared in many plays. In 1935, she married movie executive Neil Agnew; they'd stay together for 10 years. Arlene made her Broadway debut in 1936 and had her first major role in "All That Glitters" two years later. She appeared with Orson Welles in the Mercury Theatre production of "Danton's Death" in 1938, and in "Journey to Jerusalem" in 1940. Her big hit was "The Doughgirls" in 1942; it ran for 1-1/2 years. Arlene had auditioned for her first radio part at the same time she was getting started in the theater; she later recalled, "Radio came easily." In the 1940s, she played in as many as five radio serials a day. Arlene married actor Martin Gabel in 1946 (he died in 1986), and they had a son, Peter. She also was host of a radio dating show called "Blind Date," which was adapted to a TV series in 1949 (Your Big Moment (1949)), and she was the host (1949-1952). It was television that brought Arlene fame, and she became one of the highest-paid women in TV. Arlene was a permanent panelist on CBS' What's My Line? (1950) (a Mark Goodson-Bill Todman production) from 1950 through 1967 and continued as a panelist in a syndicated version that ran until 1975, thus being with the show for its entire 25-year run. She was warm, witty and had a cute laugh--and was always fashionably dressed. She wore a diamond heart-shaped necklace, which started a fad. She was still doing radio while on TV, and in 1960, she was the star of "The Arlene Francis Show," a daily interview show in New York, on WOR; it ran for 23 years. Arlene retired from show business after that and lived comfortably. She was still giving interviews in 1991. Arlene spent her last years living in San Francisco. Arlene died of cancer on Thursday, May 31, 2001, in a San Francisco hospital, at age 93. Her many fans will miss her, Arlene was truly one of the greats.- Actress
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Ann Sothern's film career started as an extra in 1927. Originally a redhead, she began to bleach her hair blonde for comedy roles. After working at MGM and on Broadway, Ann was signed by Columbia Pictures for Let's Fall in Love (1933). The next year she would work with Eddie Cantor in his hit Kid Millions (1934). For the next two years, Ann would appear in a number of "B" pictures until she was dropped by Columbia in 1936. She then went to RKO, where the quality of her films did not improve. She appeared in a series of "B' pictures movies with Gene Raymond, but her career was going nowhere. In 1938 she left RKO and played the tart in Trade Winds (1938), which got her a contract at MGM. She was given the lead in a "B" comedy about a brassy, energetic showgirl not salesgirl--originally intended for Jean Harlow--that wound up becoming a huge hit and spawned a series of sequels that ran until 1947: Maisie (1939). Ann also appeared in such well received features as Brother Orchid (1940), Cry 'Havoc' (1943) and A Letter to Three Wives (1949). After 1950 the roles dried up and Ann turned to television and another hit series, playing the meddlesome Susie in the 1953 series Private Secretary (1953). The series was canceled in 1957 and Ann came back in The Ann Sothern Show (1958), which ran from 1958 to 1961. In 1965, she would be the voice of the 1928 Porter in the camp classic My Mother the Car (1965). While the 1970s and 1980s were relatively quiet for Ann, she would be nominated for an Academy Award for her role as the neighbor of Lillian Gish and Bette Davis in The Whales of August (1987).- Actor
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Anthony Quinn was born Antonio Rodolfo Quinn Oaxaca (some sources indicate Manuel Antonio Rodolfo Quinn Oaxaca) on April 21, 1915, in Chihuahua, Mexico, to Manuela (Oaxaca) and Francisco Quinn, who became an assistant cameraman at a Los Angeles (CA) film studio. His paternal grandfather was Irish, and the rest of his family was Mexican.
After starting life in extremely modest circumstances in Mexico, his family moved to Los Angeles, where he grew up in the Boyle Heights and Echo Park neighborhoods. He played in the band of evangelist Aimee Semple McPherson as a youth and as a deputy preacher. He attended Polytechnic High School and later Belmont High, but eventually dropped out. The young Quinn boxed (which stood him in good stead as a stage actor, when he played Stanley Kowalski in "A Streetcar Named Desire" to rave reviews in Chicago), then later studied architecture under Frank Lloyd Wright at the great architect's studio, Taliesin, in Arizona. Quinn was close to Wright, who encouraged him when he decided to give acting a try. Made his credited film debut in Parole! (1936). After a brief apprenticeship on stage, Quinn hit Hollywood in 1936 and picked up a variety of small roles in several films at Paramount, including an Indian warrior in The Plainsman (1936), which was directed by the man who later became his father-in-law, Cecil B. DeMille.
As a contract player at Paramount, Quinn's roles were mainly ethnic types, such as an Arab chieftain in the Bing Crosby-Bob Hope comedy, Road to Morocco (1942). As a Mexican national (he did not become an American citizen until 1947), he was exempt from the draft. With many other actors in military service during WWII, he was able to move up into better supporting roles. He married DeMille's daughter Katherine DeMille, which afforded him entrance to the top circles of Hollywood society. He became disenchanted with his career and did not renew his Paramount contract despite the advice of others, including his father-in-law, with whom he did not get along (whom Quinn reportedly felt had never accepted him due to his Mexican roots; the two men were also on opposite ends of the political spectrum) but they eventually were able to develop a civil relationship. Quinn returned to the stage to hone his craft. His portrayal of Stanley Kowalski in "A Streetcar Named Desire" in Chicago and on Broadway (where he replaced the legendary Marlon Brando, who is forever associated with the role) made his reputation and boosted his film career when he returned to the movies.
Brando and Elia Kazan, who directed "Streetcar" on Broadway and on film (A Streetcar Named Desire (1951)), were crucial to Quinn's future success. Kazan, knowing the two were potential rivals due to their acclaimed portrayals of Kowalski, cast Quinn as Brando's brother in his biographical film of Mexican revolutionary Emiliano Zapata, Viva Zapata! (1952). Quinn won the Best Supporting Actor Academy Award for 1952, making him the first Mexican-American to win an Oscar. It was not to be his lone appearance in the winner's circle: he won his second Supporting Actor Oscar in 1957 for his portrayal of Paul Gauguin in Vincente Minnelli's biographical film of Vincent van Gogh, Lust for Life (1956), opposite Kirk Douglas. Over the next decade Quinn lived in Italy and became a major figure in world cinema, as many studios shot films in Italy to take advantage of the lower costs ("runaway production" had battered the industry since its beginnings in the New York/New Jersey area in the 1910s). He appeared in several Italian films, giving one of his greatest performances as the circus strongman who brutalizes the sweet soul played by Giulietta Masina in her husband Federico Fellini's masterpiece The Road (1954). He met his second wife, Jolanda Addolori, a wardrobe assistant, while he was in Rome filming Barabbas (1961).
Alternating between Europe and Hollywood, Quinn built his reputation and entered the front rank of character actors and character leads. He received his third Oscar nomination (and first for Best Actor) for George Cukor's Wild Is the Wind (1957). He played a Greek resistance fighter against the Nazi occupation in the monster hit The Guns of Navarone (1961) and received kudos for his portrayal of a once-great boxer on his way down in Rod Serling's Requiem for a Heavyweight (1962). He went back to playing ethnic roles, such as an Arab warlord in David Lean's masterpiece Lawrence of Arabia (1962), and he played the eponymous lead in the "sword-and-sandal" blockbuster Barabbas (1961). Two years later, he reached the zenith of his career, playing Zorba the Greek in the film of the same name (a.k.a. Zorba the Greek (1964)), which brought him his fourth, and last, Oscar nomination as Best Actor. The 1960s were kind to him: he played character leads in such major films as The Shoes of the Fisherman (1968) and The Secret of Santa Vittoria (1969). However, his appearance in the title role in the film adaptation of John Fowles' novel, The Magus (1968), did nothing to save the film, which was one of that decade's notorious turkeys.
In the 1960s, Quinn told Life magazine that he would fight against typecasting. Unfortunately, the following decade saw him slip back into playing ethnic types again, in such critical bombs as The Greek Tycoon (1978). He starred as the Hispanic mayor of a southwestern city on the short-lived television series The Man and the City (1971), but his career lost its momentum during the 1970s. Aside from playing a thinly disguised Aristotle Onassis in the cinematic roman-a-clef The Greek Tycoon (1978), his other major roles of the decade were as Hamza in the controversial The Message (1976) (a.k.a. "Mohammad, Messenger of God"); as the Italian patriarch in The Inheritance (1976); yet another Arab in Caravans (1978); and as a Mexican patriarch in The Children of Sanchez (1978). In 1983, he reprised his most famous role, Zorba the Greek, on Broadway in the revival of the musical "Zorba" for 362 performances (opposite Lila Kedrova, who had also appeared in the film, and won an Oscar for Best Supporting Actress for her performance). His career slowed during the 1990s but he continued to work steadily in films and television, including an appearance with frequent film co-star Maureen O'Hara in Only the Lonely (1991).
Quinn lived out the latter years of his life in Bristol, Rhode Island, where he spent most of his time painting and sculpting. Beginning in 1982, he held numerous major exhibitions in cities such as Vienna, Paris, and Seoul. He died in a hospital in Boston at age 86 from pneumonia and respiratory failure linked to his battle with throat cancer.- Actor
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Jack Lemmon was born in Newton, Massachusetts, to Mildred Lankford Noel and John Uhler Lemmon, Jr., the president of a doughnut company. His ancestry included Irish (from his paternal grandmother) and English. Jack attended Ward Elementary near his Newton, MA home. At age 9 he was sent to Rivers Country Day School, then located in nearby Brookline. After RCDS, he went to high school at Phillips Andover Academy. Jack was a member of the Harvard class of 1947, where he was in Navy ROTC and the Dramatic Club. After service as a Navy ensign, he worked in a beer hall (playing piano), on radio, off Broadway, TV and Broadway. His movie debut was with Judy Holliday in It Should Happen to You (1954). He won Best Supporting Actor as Ensign Pulver in Mister Roberts (1955). He received nominations in comedy (Some Like It Hot (1959), The Apartment (1960)) and drama (Days of Wine and Roses (1962), The China Syndrome (1979), Tribute (1980) and Missing (1982)). He won the Best Actor Oscar for Save the Tiger (1973) and the Cannes Best Actor award for "Syndrome" and "Missing". He made his debut as a director with Kotch (1971) and in 1985 on Broadway in "Long Day's Journey into Night". In 1988 he received the Life Achievement Award of the American Film Institute.- Director
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The son of Louis K. Sidney the vice president of M.G.M. and Hazel Mooney of The Mooney Sisters. In his teens he worked as studio messenger going through every department learning the techniques and secrets of the trade. In 1933 he was assigned to direct screen tests of Judy Garland, Robert Taylor and Janet Leigh then he was promoted to shorts and the 'Our Gang' comedies winning two Oscars.He was promoted to features in 1942 directing such as 'Annie Get Your Gun', 'Showboat' and 'Pal Joey'.- Actor
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New York-born James Gregory gave up a career as a stockbroker for one as an actor, and began on the Broadway stage. He made his film debut in 1948. Gregory specialized in playing loud, brash, tough cops or businessmen. One of his better roles was as the detective out to get Capone in Al Capone (1959). He also played Dean Martin's boss in three of the four cheesy "Matt Helm" spy films. Memorable as the opinionated, loudmouthed Inspector Luger in the television series Barney Miller (1975).- Actor
- Soundtrack
William Warfield was a concert baritone singer, who gave his recital debut in New York's Town Hall in 1950. He was then quickly invited by the Australian Broadcast Corporation to tour Australia for thirty-five concerts. As an actor, he appeared in only two motion pictures, one of them being his memorable performance as Joe in the 1951 version of Show Boat (1951), filmed at Metro-Goldwyn-Mayer (MGM), the other as a tugboat captain in "Old Explorers". He played another dramatic role on live television in the 1950's, as De Lawd in "The Green Pastures" on the "Hallmark Hall of Fame".- Actress
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Young Signe Larsson was only 12 when she started to work as a child extra at The Royal Dramatic Theater and was the youngest ever enrolled for acting studies there at 16. She quickly got leading roles in movies and always received very good reviews. In 1940 she went to Hollywood and signed a contract with RKO. Despite her talent, it didn't lead to any work and she ventured off to New York and the theater. She signed a contract with MGM and made a dozen of movies, including George Cukor's A Double Life (1947), possibly her best. However, she longed to go back to the theater and has worked in London and New York as well as touring around the US.- Actor
- Producer
American supporting player specializing in tough guys. Of Serbian extraction, he was born in Nevada in 1917. As a young man, he boxed in amateur bouts and had early training in theatre at the Pasadena Playhouse. He joined the Air Corps during World War II and was assigned to the troupe performing the Moss Hart Broadway tribute to the Corps, Winged Victory, acting under his first chosen stage name, Barry Mitchell. He appeared in the film version of the show, and after the war became active in radio drama as well as theatre. John Huston spotted him in a play and cast him as a bad guy in The Asphalt Jungle (1950), under the new sobriquet of Brad Dexter. Throughout the Fifties, he continued to play hard cases of a usually villainous stripe, in both crime dramas and Westerns. His most famous role came as one of title characters in The Magnificent Seven (1960), albeit his fame was considerably eclipsed by most of the other members of that band: Yul Brynner, Steve McQueen, Horst Buchholz, Charles Bronson, Robert Vaughn, and James Coburn. He continued acting into the 1970s, then made a shift into producing.- Lew Wasserman was born on 22 March 1913 in Cleveland, Ohio, USA. He was married to Edie Wasserman. He died on 3 June 2002 in Beverly Hills, California, USA.
- Ted Ashley was born on 3 August 1922 in Brooklyn, New York, USA. He was married to Marian Page Cuddy, Joyce Easton, Linda Palmer and Constance Marsha Sitomer. He died on 24 August 2002 in New York City, New York, USA.
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Legendary Hollywood "tough guy", on screen and off. Remembered as the title character in Dillinger (1945) and as the consummately brutal lover of Claire Trevor in Born to Kill (1947). Notorious for his frequent, well-publicized barroom brawls and the like, including being stabbed in 1973. In his later years, he continued as a screen actor projecting the hard-as-nails mien that has been ingrained since his younger days, as evidenced in Quentin Tarantino's Reservoir Dogs (1992).- Actor
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Although he sounded very British, Leo McKern was an Australian. By the time he was 15 years old, he had endured an accident that left him without his left eye. A glass eye replaced it - one might conjecture for the better, as far as making McKern a one-day actor of singular focus (no pun intended; his face had that extremely focused look). He failed to complete Sydney Technical High School, though his interest in engineering prompted him to transfer into the role of engineering apprentice (1935 to 1937). He expanded his horizons in a different direction with a two-year stint (1937-1940) at a commercial art college. By then World War II was escalating toward Australia, and he volunteered for service with the Engineering Corp of the Australian Army (1940 to 1942). But yet one more career move was needed, and that while the war moved northward away from Australia when America joined the fight. He studied acting and debuted on stage in 1944. He also met an Australian stage actress (Jane Holland), and mutual attraction took its course. In 1946 she had acting opportunities in England, and McKern decided that, along with the wish to propose to her, his own future as an actor lay there also.
McKern was short and stout with a great bulbous nose upon an impish face--all the ingredients for great character. His voice was a sharp and vociferous grind upon the back teeth--also perfect for character. After some touring (which included a trip to post-war Germany), he began to appear with regularity on London's premiere stages, particularly the Old Vic (1949-52 and then again 1962-63). These roles meshed with classic English work when he moved on to the Royal Shakespeare Company (RSC) at Stratford-upon-Avon and the Shakespeare Memorial Theater (later reconstituted as the now Royal Shakespeare Theater) from 1952 to 1954. He also spent a season at the New Nottingham Playhouse. He had weaned himself off his Australian accent long before this with his bid for film roles, the first being as one of the four murderous barons in the Thomas a' Becket story Murder in the Cathedral (1951). And he kept his medieval tights on for his next screen appearances (though the small screen of TV) in some roles for the popular Richard Greene series The Adventures of Robin Hood in 1955, while he continued stage work.
From then on, McKern had roles in two to three movies a year--busy but not too busy--gradually mixing progressively more and more TV work in the 1950s, 1960s, and 1970s. The films were as varied as a good stage actor could justify moving into a popular medium. Though he was usually police officials, doctors, and authoritative figures, he always made these early parts stand out. Drama comes in various packages; he was not averse to the rise of sci-fi as a vehicle for it. He graced two British sci-fi classics: X the Unknown (1956) and the better The Day the Earth Caught Fire (1961). And there was also TV fantasy work, one of the best known examples being multiple outings as interrogator and chain-yanker Number Two in The Prisoner series. In the late '70s, he condescended to add some weight to two of the Omen movies, as did Gregory Peck and William Holden, putting him in good company. Great drama was McKern's meat. And doing some historically significant on a great scale was an opportunity for a Shakespearean not to miss. He was cast in the screen version of the Robert Bolt hit play A Man for All Seasons (1966). And his visage was perhaps part of the allure. Cast as ruthless political climber and fated chancellor of England Thomas Cromwell, McKern looked like the Hans Holbein court painting of the man who rather nefariously succeeded to Sir Thomas More's position. More was played by McKern's fellow RSC resident Paul Scofield. McKern gave flesh to the commoner Cromwell, making him loud and abrasive with a delightful verve. Later he and Scofield shared another film role, in the sense that the latter turned down the part of Thomas Ryan in the David Lean epic of Ireland Ryan's Daughter (1970), while McKern accepted it and made the role work. (Scofield would have been a miscast, something he probably wisely foresaw.)
McKern, from his early screen roles, could do comedy. He had a fair share of outrageous characters, and he could play them with a glint in his eye and a bit of extra cheek in his performance to show that he must have had fun in the role. In this regard, he showed his stuff supporting Peter Sellers in the endearing The Mouse That Roared (1959) and had the lead in the outlandish They All Died Laughing (1964) as a college professor who decides to snuff out humanity with poison laughing gas. He was a broad country fellow with a Shakespearean twist as Squint in The Amorous Adventures of Moll Flanders (1965). In one of his later comedies, he is rather overlooked because of its clever script; in fact, it is an over-the-top tour de force for McKern. As the infamous nemesis Professor Moriarty in The Adventure of Sherlock Holmes' Smarter Brother (1975), McKern manages to steal the show from funny man and director/writer Gene Wilder along with Marty Feldman and Roy Kinnear. McKern's Moriarty is devilish but tongue-in-cheek with a vengeance, especially with his nervous tic of suddenly, at any time and out of nowhere, yelling, "YAAA, YAAA!"
Yet McKern's chief legacy has been and probably will continue to be his long-running TV role in more mystery (he had done his fair share in film and TV already) as Horace Rumpole in "Rumpole of the Bailey" (1978-1992), a role originally introduced by him in the teleplay "Rumpole of the Bailey" in 1975. The role had been specifically created for him by writer John Mortimer, and though every actor can appreciate the security of a long-running role, McKern feared that it was subsuming his more than considerable body of work. Along with that, McKern became increasingly self-conscious of his acting, and mixed in was the idea that his physical appearance was not appealing to the public. As a result, he had to deal with a progressively increasing stage fright. He need not have worried; he was working in diverse TV and movie roles nearly to the time of his passing, and he was beloved by movie and TV fans alike. Along with receiving the award of Officer of the Order of Australia from his home country, in 1983 McKern's memoir "Just Resting" was published.- Actress
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Her father, Donald Cole, was a consulting engineer, and died in 1926 when Kim was only three years old. Her mother, Grace Lind, once performed as a concert pianist. She had one brother who was eight years older than she, and she was educated at Miami Beach High.
According to an in-depth article on Kim Hunter by Joseph Collura in the October 2009 issue of "Classic Images", Kim was quiet and painfully shy as a child and overcame it through the guidance of a local dramatics teacher, a Mrs. Carmine. Included were diction, voice and posture lessons.
She studied at the Actors Studio and her first professional appearance was as "Penny" in "Penny Wise" in Miami in November 1939. Then, she joined a repertory group called "Theatre of Fifteen", but it disbanded in 1942 when WWII took away most of its male members.
She made her Broadway debut performance as "Stella" in "A Streetcar Named Desire" at the Ethel Barrymore Theatre, New York, in December 1947 that was the 1947-1948 season's success and for which she won the Critics Circle and Donaldson awards.
A one-time student of the Pasadena Playhouse, she was appearing in the 1942 production of "Arsenic and Old Lace" when she was discovered by an RKO talent hunter who signed her to a seven-year contract for David O. Selznick's company. Selznick suggested she change her first name to "Kim" and a RKO secretary suggested the last name of "Hunter". A few years later, Irene Mayer Selznick, David's ex-wife by then, recommended Kim for her reprise role of "Stella" in A Streetcar Named Desire (1951), for which she won an Oscar.- Actor
- Music Department
John Agar was born in Chicago, the eldest of four children. In World War II, Sgt. John Agar was a United States Army Air Force physical instructor. His 1945 marriage at the Wilshire Memorial Church to "America's Sweetheart" Shirley Temple put him in the public eye for the first time, and a movie contract with independent producer David O. Selznick quickly ensued.
Agar debuted opposite John Wayne, Henry Fonda and Temple in John Ford's Fort Apache (1948), initial film in the famed director's "Cavalry Trilogy".
His marriage to Shirley Temple ended in 1949, while his movie career continued.
Popular with fans of Westerns and sci-fi flicks, Agar was a staple at film conventions and autograph shows.- Actor
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Jeff Corey was a film and television character actor, as well as one of the top acting teachers in America.
Corey was born Arthur Zwerling on August 10, 1914 in New York City, New York, to Mary (Peskin), a Russian Jewish immigrant, and Nathan Zwerling, an Austrian Jewish immigrant. He was an indifferent student, but after taking a drama class in high school, young Corey became hooked. His talent earned him a scholarship to the Feagin School of Dramatic Arts, the top acting school in New York City at the time. Corey then became a professional actor, a career choice which saved him from a life selling sewing machines, he later said.
His first gig after acting school was with a Shakespearean repertory company, after which he became a member of a traveling troupe that entertained children. After Leslie Howard closed his Broadway production of Hamlet in December 1936, he took the play on the road with Corey cast as Rosencrantz in 1937. In 1939, Corey appeared as part of the Federal Theater Project's (FTP) Living Newspaper dramatic showcase in the Life and Death of an American, co-starring with Arthur Kennedy, and featuring the music of Alex North. He made his film debut in a bit part in the Federal Theater's sole movie production, ...One Third of a Nation... (1939). Starring Sylvia Sidney, Leif Erickson and future Oscar-winning director Sidney Lumet, the movie, which was released by Paramount, was a progressive exegesis on the hazards of tenement slum conditions. Congress terminated FTP funding on June 30, 1939, mainly due to objections to the leftist political tones of many FTP productions (see Tim Robbins' movie Cradle Will Rock (1999) about the pressures faced by the FTP in 1939).
In 1940, Corey, who had married his wife Hope in 1938, moved to Hollywood, where he appeared in studio productions through 1943, including The Devil and Daniel Webster (1941), My Friend Flicka (1943) and Joan of Arc (1948). He also had a hand in establishing the Actors Lab, where he appeared in a wide variety of plays, including "Abe Lincoln in Illinois", "Miss Julie" and "Prometheus". He also produced "Juno and the Paycock" for the Lab. He joined the United States Navy Photographic Service in 1943 and was assigned to the aircraft carrier Yorktown as a motion picture combat photographer. He earned three citations while serving during the war, including one for shooting footage on the Yorktown during a kamikaze attack on the ship. The citation, which was awarded in October 1945, read: "His sequence of a Kamikaze attempt on the Carrier Yorktown, done in the face of grave danger, is one of the great picture sequences of the war in the Pacific, and reflects the highest credit upon Corey and the U.S. Navy Photographic Service."
After the war, Corey returned to Hollywood and resumed his acting career, specializing in character parts and playing heavies in films such as The Killers (1946) and Brute Force (1947), both of which starred another returning war vet, Burt Lancaster. His appearance as the psychiatrist in Home of the Brave (1949), one of his best screen performances, promised a long and productive career in Hollywood, but the first phase of his cinema career was cut short in 1951 when he was subpoenaed to appear before the House Committee on Un-American Activities (HUAC) after being named as a former Communist Party member by actor Marc Lawrence.
HUAC had scheduled hearings in Los Angeles as part of its crusade to ferret out Communist influence in Hollywood. Appearing before HUAC in Los Angeles in September 1951, the 37-year-old Corey refused to testify, instead invoking his 5th Amendment rights. The movie industry ruled that anyone invoking their constitutional right not to testify would be blacklisted, and Corey was, missing out on an entire decade of work in films and television during the 1950s. Ironically, Lawrence, whom Corey despised for the rest of his life, pointing out that he had remained stateside on a health deferment while Corey risked his life during the war, was virtually absent from American films and television during the same decade, having to make his living in Italy along with American expatriates who had been blacklisted.
In the book on Hollywood blacklistees "Tender Comrades", Corey explained that he had been a member of the Communist Party, and that while he no longer was in 1951, he could not in good conscience turn informer. "Most of us were retired reds," Corey said. "We had left it, at least I had, years before. The only issue was, did you want to just give them their token names so you could continue your career, or not? I had no impulse to defend a political point of view that no longer interested me particularly. They just wanted two new names so they could hand out more subpoenas."
After being blacklisted, Corey used his G.I. Bill benefits to study speech therapy at UCLA while supporting his family as a common laborer. At the request of a fellow student, Corey organized a class in speech that he taught in the garage of his home in Hollywood Hills home. He expanded his curriculum to acting, accepting $10 a month in "tuition" per month from each student that allowed them to attend weekly classes. Eventually, he expanded the garage to create a small theater where his students performed scenes. Corey's reputation as a teacher grew, and by the mid-1950s, he had become the premier acting coach in Hollywood. Although studios refused to hire the blacklisted Corey as an actor, they did send contract players to study with him.
Corey's class, which became known as the Professional Actors Workshop, attracted directors, screenwriters and established actors seeking insight into the craft. Corey's Workshop has been described by the National Observer as "A major influence in the motion picture industry." Corey was a Stanislavskian teaching the popular Method technique of sense-memory popularized by such other acting gurus as Lee Strasberg and Stella Adler, which sought to tap into the actor's own emotions and psyche. Corey's own teaching technique was eclectic: He focused on one-on-one work with an individual actor, seeking through improvisational exercises to get the actor to tap into his/her subconscious and to use their imagination to come up with a theme that would elucidate their character.
His students included Robert Blake, pop singer Pat Boone, Richard Chamberlain, singer/actress Cher, director-producer Roger Corman, James Dean, Kirk Douglas, Jane Fonda, Peter Fonda, Michael Forest, Sally Kellerman, Irvin Kershner, Shirley Knight, Penny Marshall, Rita Moreno, Jack Nicholson, Leonard Nimoy, Anthony Perkins, Rob Reiner, singer/actress/director Barbra Streisand, future Academy Award-winning screenwriter Robert Towne and Robin Williams. Of Corey the teacher, three-time Oscar-winner Jack Nicholson said after he had become a major movie star, "Acting is life study, and Corey's classes got me into looking at life as an artist."
Corey also tutored experienced actors who had trouble with a role, or who just needed insight into playing a character. One of the already-established actors Corey tutored was three-time Oscar nominee Kirk Douglas, who came to Corey for help in playing the title role in Spartacus (1960). It was Douglas who, along with Otto Preminger, ended the blacklist by hiring Dalton Trumbo to write the screenplays for Spartacus (1960) and Exodus (1960), respectively. Two years after the Trumbo-penned films debuted on the big screen, Corey again was working in films and television. In 1962, he was cast in the film The Yellow Canary (1963) when one of his acting students, pop singer Pat Boone, pressured 20th-Century Fox into hiring him. Now off the blacklist, Corey became a busy character actor in movies and on television. Corey made his reputation as an actor's actor whom other actors loved to work with. Always good with actors, Corey also directed some episodes of television series.
In addition to his acting work, Corey continued teaching. He was Professor of Theater Arts at California State University in Northridge, and was artist in residence at Ball State, in Indiana, the University of Illinois in Bloomington, Chapman College's World Campus Afloat, the University of Texas in Austin, and at the Graduate School of Creative Writing at New York University. He also conducted acting seminars at Emory University in Atlanta, and for the Canadian Film Institute in Vancouver, British Columbia.
On August 16, 2002, six days after his 88th birthday, Corey died in a Santa Monica, California hospital, of complication from a fall. He was survived by his wife of 64 years, Hope, three daughters, and grandchildren.- Music Artist
- Actress
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Peggy Lee was Born Norma Dolores Egstrom in Jamestown, North Dakota, on May 26, 1920. At age four her mother died. Peggy's father, a railroad station agent, remarried but later left home, leaving Peggy's care entrusted to a stepmother who physically abused her. Peggy later memorialized this in the calypso number "One Beating a Day", one of 22 songs she co-wrote for the autobiographical musical "Peg", in which she made her Broadway debut in 1983 at the age of 62. As a youngster Peggy worked as a milkmaid, later turning to singing for money in her teens. While singing on a local radio station in Fargo, the program director there suggested she change her name to Peggy Lee. Peggy's big break came when Benny Goodman hired her to sing with his band after hearing her perform. Peggy shot to stardom when she and Goodman cut the hit record "Why Don't You Do Right?" and went out on her own to record such classics as "Fever", "Lover", "Golden Earrings", "Big Spender" and "Is That All There Is?" - the latter winning her a Grammy Award in 1969. Peggy's vocal style provided a distinctive imprint to countless swing tunes, ballads and big band numbers. She was considered the type of performer equally capable of interpreting a song as uniquely as Billie Holiday, Ella Fitzgerald and Bessie Smith. Her 1989 album, "Peggy Sings the Blues", was a Grammy Award nominee. Peggy was a prolific songwriter and arranger and her 1990 "The Peggy Lee Songbook" contained four songs she wrote with guitarist John Chiodini. Peggy also wrote for jazz greats Duke Ellington, who called her "The Queen", and Johnny Mercer, and composer Quincy Jones. Also in 1990 Peggy was awarded the coveted Pied Piper Award presented by the American Society of Composers, Authors and Publishers (ASCAP). She made her mark in Hollywood as an actress, winning an Academy Award nomination for her role as the hard-drinking singer in the jazz saga, Pete Kelly's Blues (1955) and composed songs for the 1955 Walt Disney animated classic Lady and the Tramp (1955). The animated film featured a character named Peg, a broken-down old showgirl of a dog, whose provocative walk was based on the stage-prowl of Peggy Lee. Later she sued Disney and won a landmark legal judgment for a portion of the profits from the videocassette sale of the film. Peggy's private life was racked by physical ailments, a near-fatal fall in 1976, diabetes and a stroke in 1998. She was married four times, all ending in divorce. She and first husband, guitarist Dave Barbour, had a daughter, Nicki, her only child. Peggy and Dave were on the verge of a reconciliation in 1965, but he died of a heart attack before the couple got back together. Peggy has left a vast legend of music that is constantly finding new generations of fans.- Actress
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She was the daughter of Andrew and Frances Clooney and grew up in Maysville, Kentucky, where she and her sister Betty Clooney used to sing in her grandfather's mayoral election campaigns, which he won three times. She made her singing debut on Cincinnati radio station WLW in 1941 at 13. On WLW she worked with band leader Barney Rapp, who had also worked with Doris Day and Andy Williams at the same station. She attended high school at Our Lady of Mercy in Cincinnati. In 1946 she appeared with her sister in Atlantic City, New Jersey, at the Steel Pier with Tony Pastor's band. In 1949 she went solo and later appeared in White Christmas (1954), co-starring opposite Bing Crosby and Danny Kaye. Her first big hit was "Come On A My House" in 1951. She married José Ferrer in 1953 and they had five children between 1955 and 1960. Her marriage to Ferrer was a tempestuous one and she had a nervous breakdown in 1968, but went on to resume her career in 1976. Her life was dramatized in a 1982 made-for-television movie starring Sondra Locke, who was actually just 16 years Rosemary's junior but constantly lied about her age.
Her son Gabriel is married to singer Debby Boone, daughter of 1950s pop singer Pat Boone. Her brother, Nick Clooney, was an ABC news anchor in Cincinnati, and her nephew George Clooney has developed into one of the biggest movie stars of the 21st century. In 1968 she was standing in the Ambassdor Hotel in Los Angeles with Roosevelt Grier when Robert F. Kennedy was assassinated in the hotel kitchen after she had participated in his campaign rally. Her top hits include "Hey There" in 1954, "Tenderly", "This Ole House" and "Half As Much" in 1952.- Actress
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Dabbling in practically every facet of show business during her over six-decade career -- nightclubs, cabaret, radio, recordings, TV, film and Broadway -- sultry, opulent, larger-than-life singing star Dolores Gray, distinctive for her sharp, somewhat equine features, lived the high life for most of her time on earth.
She was born Sylvia Dolores Finkelstein in Los Angeles, California on June 7, 1923, the daughter of vaudevillian parents (her father Harry went by the stage name of "Harry Vernon") who divorced when she was quite young. An older brother, Richard Vernon (later Gray) would also go into the entertainment business. Dolores attended Polytechnic High School in the Sun Valley suburb of Los Angeles and, while there, became a member of the girl's glee club.
Singing in Hollywood supper clubs as early as age 14, Dolores was discovered as a teenager by Rudy Vallee, who helped make her a minor celebrity on his self-titled radio show. She went on to earn two brief, uncredited bits as a singer in the films Lady for a Night (1942) (singing "Has Anybody Seen My Man?") and Mr. Skeffington (1944) (singing "It Had to Be You"). Making her Broadway debut in the show "Seven Lively Arts," a Broadway revue produced by Billy Rose, she co-starred in the musical "Are You With It?" with Johnny Downs a year later.
During this time Dolores developed a strong reputation on both coasts as a cabaret and supper club entertainer. By 1945, she was starring in her own radio program. A chance of a lifetime occurred in 1947 when Dolores gussied up London's post-war theater district as marksman "Annie Oakley" in the Broadway musical hit "Annie Get Your Gun." She was afforded this huge opportunity after the Broadway star, Ethel Merman, turned down the tour. Dolores became the toast of the West End for over two years.
Broadway beckoned following her London success and the dusky alto returned to New York. Co-starring with Bert Lahr in the Broadway musical revue "Two on the Aisle" (1951), which had a decent run, she went on to earn raves in the very short-lived 1953 musical "Carnival in Flanders" with John Raitt. She won the Tony award for this in spite of the fact it closed after only six performances! Dolores would return to Broadway in the 1959 musical "Destry Rides Again" co-starring pre-TV star Andy Griffith and earning a Tony nomination. This was followed by the ill-fated 1967 musical "Sherry!" based on the Kaufman/Hart play "The Man Who Came to Dinner."
Not only was Broadway interested when Dolores returned from London, but MGM also wanted in on the action. Signing the leggy star to a short-term contract, the results were disappointing as the "Golden Age of Hollywood" musicals was on a major decline. She did manage, however, to nab a few scene-grabbing second leads in such musicals as It's Always Fair Weather (1955) starring Gene Kelly; Kismet (1955) with Howard Keel and Ann Blyth; The Opposite Sex (1956) starring June Allyson; and in Joan Collins, a rather misguided musical version of "The Women" film classic. She would also co-star in the chic non-musical Designing Woman (1957) starring Gregory Peck and Lauren Bacall. And then it was over for Dolores in movies.
As the years went by, Dolores would attract tabloid attention with her extravagant lifestyle, outlandish clothes and "Auntie Mame"-like joie de vivre. Being the trooper she was, she found work on TV variety (she made several appearances on "The Ed Sullivan Show"), recorded for Capitol Records (the album "Warm Brandy"), and remained a top-of-the-line nitery star for decades to come. In 1973, she returned to London and replaced Angela Lansbury in the musical "Gypsy" at the Piccadilly Theatre. Over a decade later (1986), she came in as a replacement Dorothy Brock in the Broadway revival of "42nd Street," and, a year later, was featured in the London production of Sondheim's "Follies," earning show-stopping applause for her version of the classic song "I'm Still Here."
Despite her somewhat outré reputation, Dolores married only once -- to California businessman and race horse owner Andrew Crevolin in 1967. Although the marriage lasted only 9 years, the couple never divorced -- in fact, they never even formally separated as she was a devout Catholic. She and Crevolin would remain close friends until his death in 1992. Dolores herself passed away a decade later in her Manhattan apartment of a heart attack at age 78 on June 26, 2002.- Director
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J. Lee Thompson was born on 1 August 1914 in Bristol, England, UK. He was a director and writer, known for The Guns of Navarone (1961), Woman in a Dressing Gown (1957) and Conquest of the Planet of the Apes (1972). He was married to Penny Thompson, Florence (Bill) Bailey, Lucille Kelly and Joan Henry. He died on 30 August 2002 in Sooke, British Columbia, Canada.- Actor
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This owl-faced comic actor enjoyed his first featured film role in the RKO production Too Many Girls (1940), in which he reprised the role of "JoJo Jordan" that he had played in the Broadway stage version of that musical. (Into the pantheon of pop-music standards came one that Bracken had introduced in "Too Many Girls", the melancholy "I Didn't Know What Time It Was"). But the then 20-year-old Eddie Bracken was by no means new to show business in general or Hollywood in particular. He had played in vaudeville and performed in nightclubs by the time he was 9, and had just later appeared on screen in four of the Hal Roach "Our Gang" comedy two-reeler film shorts. It was on account of his appearances in musicals and comedies as a shy, giggling, clumsy, stammering, sentimental, self-effacing, would-be hero that Bracken achieved popularity, not to say star status, among movie audiences of the 1940s. The director Preston Sturges served up those attributes of Eddie Bracken particularly well in two of Sturges's more memorable comedies. As "Norval Jones" in The Miracle of Morgan's Creek (1943) (filmed in 1942; released 1944), Bracken portrays a man whose destiny others have foisted upon him. A certain "Trudy Kockenlocker" (played by Betty Hutton), having attended a party for military servicemen, later finds herself to be pregnant but has no recollection of who the father might be. So she persuades the always-befuddled Norval to take credit for the child and marry her. Somehow, Norval emerges a true hero in the end, but you'll have to see the film to discover why. As Norval Jones was physically unfit for military service, so also was "Woodrow Lafayette Pershing Truesmith", with Eddie Bracken in the role, in Preston Sturges's Hail the Conquering Hero (1944). Solely on the basis of his father's reputation as a World War I U.S. Marine hero, a group of saloon-hopping World War II-era U.S. Marines, led by a crusty senior-level sergeant (played to a tee by William Demarest), elevate the physical reject Truesmith into a modern, combat-decorated veteran, and then usher him into an election campaign for Truesmith's hometown mayoralty. The complications, including a love interest (in the person of actress Ella Raines, are by now well under way. As Eddie Bracken's age increased his popularity -- or perhaps that of the genre of film vehicles that was his forte -- decreased, and in 1953 he essentially retired from the screen, moving on to pursue theatrical ventures. But he would return to Hollywood eventually, and we have been fortunate to see him in character roles in theatrical and TV films through the 80's and 90's.- Katy Jurado was born María Cristina Estela Jurado García into a wealthy family on January 16, 1924. Her early years were spent amid luxury until her family's lands were confiscated by the federal government for redistribution to the landless peasantry. Despite the loss of property, the matriarch of the family, her grandmother, continued to live by her aristocratic ideals. When movie star Emilio Fernandez discovered Katy at the age of 16 and wanted to cast her in one of his films, Jurado's grandmother objected to her wish to become a movie actress. To get around the ban, Katy slipped from the grasp of her family's control by marrying actor Víctor Velázquez.
Jurado eventually made her debut in No matarás (1943) during the what has been called "The Golden Age of Mexican Cinema". Blessed with stunning beauty and an assertive personality, Jurado specialized in playing determined women in a wide variety of films in Mexico and the United States. Her looks were evocative of the indigenous peoples of Mexico, and she used what she called her "distinguished and sensuous look" to carve a niche for herself in Mexican cinema. Indian features were unusual for a film star in Mexico--despite the success of Fernandez, the fabled "El Indio"--and her ethnic look meant she typically was cast as a dangerous seductress, a popular type in Mexican movies. The Mexican media reported that an American movie director at one of her first Hollywood auditions laughed at her derisively because she spoke English so poorly, and an outraged Jurado promptly stormed out of the audition room, cursing in Spanish. As it turned out, that kind of brazen behavior was exactly the type of personality that the director was looking for.
In addition to acting, Jurado worked as a movie columnist and radio reporter to support her family. She also worked as a bullfight critic, and it was at a bullfight that Jurado was spotted by John Wayne and director Budd Boetticher. Boetticher, who was also a professional bullfighter, cast Jurado in his autobiographical film Bullfighter and the Lady (1951), which he shot in Mexico. She was cast in her part despite having very limited English-language skills and had to speak her lines phonetically. Luis Buñuel cast her in his Mexican melodrama The Brute (1953), and then she made her big breakthrough in American films in the role of Gary Cooper's former mistress, saloon owner Helen Ramirez, in High Noon (1952). The role necessitated her moving to Hollywood. She received two Golden Globe nominations from the Hollywood Foreign Press Association for that part, for Most Promising Newcomer and Best Supporting Actress, winning the latter. "She planted the Mexican flag in the U.S. film industry, and made her country proud", said National Actors Association official Mauricio Hernandez. Her "High Noon" performance historically proved to be an important acting watershed for Latino women in American movies. Jurado's portrayal undermined the Hollywood stereotype of the flaming, passionate Mexican "spitfire." Previously, Mexican and Latino women in Hollywood films were characterized by an unbridled sexuality, as exemplified by such diverse actresses as Lupe Velez, Dolores Del Río (who came to loathe Hollywood and returned to Mexico in the 1940s), and Rita Hayworth, nee Margarita Cansino. Although Jurado's character was forced to kow-tow to the stereotype in "High Noon", delivering such lines as, "It takes more than big, broad shoulders to make a man," the actress' great dignity in her role as a moral arbiter among the competing factions of the marshal and his fiancée, the townspeople and the gunmen out to kill the marshal showed her Helen Ramirez to be in control and controlled by nothing, not even her former love for the marshal. Her restrained performance, delivered with a great deal of conviction, emphasized the shortcomings of the rest of the other characters. Her moral integrity is the reason she, like the marshal, must abandon the town.
With her superb performance, Jurado proved that Latino women could be more than just sexpots in the American cinema. Importantly, working against the tropes of a racist cinema, she used her talent to introduce into the American cinema the model of the un-stereotyped Mexican woman who is identifiably Mexican. One of the best examples of this can be seen at the end of the middle of her career, when Jurado played sheriff Slim Pickens' wife and partner in Sam Peckinpah's elegiac Pat Garrett & Billy the Kid (1973). Determined and tough as nails, Jurado's character was clearly her screen husband's equal, and she had a very moving scene with Pickens as his character faced death. Jurado was blessed with extraordinary eyes, which were both beautiful and expressive, their beauty and strength never fading with age. Two years after "High Noon", Jurado received an Academy Award nomination as Best Supporting Actress for her role as Spencer Tracy's Indian wife in Edward Dmytryk's Broken Lance (1954), making her the first Mexican actress thus honored.
She refused to sign a contract with a major Hollywood studio in order to be able to return to Mexico between her American roles to star in Mexican films. She +remained in Los Angeles for 10 years, marrying Ernest Borgnine, her co-star in The Badlanders (1958), in 1959. During their tempestuous relationship, Jurado and Borgnine separated and reconciled before finally separating for good in 1961. The tabloids reported that Borgnine had abused her, and their separation proved rocky as well, as they fought over alimony. Their divorce became final in 1964. Borgnine summed up his ex-wife as "beautiful, but a tiger", a bon mot that described her on-screen persona as well (she had two children with former husband Victor Velasquez, a daughter and a son, who tragically was killed in an automobile accident in 1981).
Jurado played the wife of Marlon Brando's nemesis Dad Longworth (Karl Malden) in One-Eyed Jacks (1961), Brando's sole directorial effort. In her role she also was the mother of a young woman who was Brando's love interest, thus marking a career transition point as she assumed the role of a mature woman. As Jurado aged, she appeared in fewer films, but notable among them included Arrowhead (1953) with Charlton Heston, Trapeze (1956) in support of Burt Lancaster and Man from Del Rio (1956) with her fellow Mexican national Anthony Quinn who, unlike Jurado, had become an American citizen. She also appeared with Quinn in _Barabbas (1962)_and The Children of Sanchez (1978).
She appeared on the Western-themed American TV shows Death Valley Days (1952), The Rifleman (1958), The Westerner (1960) and The Virginian (1962). Her career in the US began to wind down, and she was reduced to appearing in "B" pictures like Smoky (1966) with Fess Parker and the Elvis Presley movie Stay Away, Joe (1968). She attempted to commit suicide in 1968, and then moved back home to Mexico permanently, though she continued to appear in American films as a character actress. Her last American film appearance was in Stephen Frears' The Hi-Lo Country (1998), capping a half-century-long American movie career that continued due to her talent and remarkable presence, long after her extraordinary good looks had faded.
Aside from acting in films in the US and Europe, she continued to act in Mexican films. Her most memorable role in Mexican movies was in Nosotros los pobres (1948) (aka "We the Poor") opposite superstar Pedro Infante. Though in the latter part of her career she appeared occasionally in American films shot in Mexico (including an appearance with her former mentor, Emilio Fernandez, in "Pat Garrett & Billy the Kid" and John Huston's Under the Volcano (1984)), she appeared mostly in Mexican movies in the last decades of her career, becoming a prominent and highly respected character actress. She played the leader of a religious cult in the Bunuel-like satire Divine (1998). Jurado won three Ariel awards, the Mexican equivalent of the Oscar, a Best Supporting Actress award in 1954 for Bunuel's The Brute (1953) a Best Actress Award in 1974 for Fe, esperanza y caridad (1974) and a Best Supporting Actress award in 1999 for "El evangelio de las Maravillas". She also was awarded a Special Golden Ariel for Lifetime Achievment in 1997. In the north, she was honored with a Golden Boot Award by the Motion Picture & Television Fund in 1992 and has a star on the Hollywood Walk of Fame. Jurado was an avid promoter of her home state of Morelos as a location for filmmakers.
Towards the end of her life, she suffered from heart and lung ailments. Katy Jurado died on July 5, 2002, at the age of 78 at her home in Cuernavaca, Mexico. She was survived by her daughter. - Animation Department
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Starting as a cel washer, Chuck Jones worked his way up to animator and then director at the animation division of Warner Bros. He is famous for creating such beloved cartoon characters as Wile E. Coyote, Henery Hawk, Pepé Le Pew, Marvin the Martian, Ralph Wolf, Road Runner, Sam Sheepdog, Sniffles, and many others, as well as adding to the development of Warner favorites such as Bugs Bunny, Daffy Duck, Porky Pig and countless others.
His most famous cartoons tend to have been created with writer Michael Maltese. Jones' autobiography, published by Simon & Schuster "Chuck Amuck"--a pun on his Daffy Duck short Duck Amuck (1953)--gives a very amusing account of his life. It is liberally sprinkled with hundreds of cartoons with some color plates.- Actor
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Harold John Russell was born in Nova Scotia in 1914. His family moved to Cambridge Massachusetts when his father died in 1919. He was training paratroopers at Camp MacKall NC on June 6, 1944 when some TNT he was using exploded in his hands. He lost both hands. After receiving hooks, and training on them, he was chosen to make an Army training film called "Diary Of A Sergeant". William Wyler saw the film and decided to cast him in The Best Years of Our Lives (1946). Harold Russell played Homer Parish. For this role he received 2 Oscars, a Best Supporting and one for being an inspiration to all returning veterans. He is the only actor to receive 2 Oscars for the same role. After the movie he attended Boston University. He later went on to help establish AMVETS as a viable alternative to the American Legion for veterans, though his dream of an international veterans organization was never realized. He later appeared in Inside Moves (1980) and Dogtown (1997). He lived with his wife on Cape Cod in Massachusetts. He wrote 2 biographies: "Victory In My Hands" (1947) & "The Best Years Of My Life" (1981).- Versatile, award-winning character actress Eileen Heckart, with the lean, horsey face and assured, fervent gait, was born Anna Eileen Herbert on March 29, 1919, in Columbus, Ohio. An only child, she lived with her mother after her parents separated when she was 2 years old, and was eventually adopted by her grandfather, whose surname (Heckart) she took. Her childhood was an acutely unhappy one. Her mother, an alcoholic, was married five times, and her stern grandmother, with whom Eileen was often shuttled off to stay, was physically abusive. To survive, Eileen escaped into the joy of movies as an adolescent.
She graduated from Ohio State University in 1942 with a degree in English. That same year she married John Harrison Yankee Jr., an insurance broker. They had three sons in a union that lasted 54 years, unusual for a feisty, independent lady of show business. While her husband was off to the war (he joined the Navy), she moved to New York and toiled in a number of day jobs while trying to jump start a career in acting. Beginning in summer stock, she took classes at the American Theatre Wing and apprenticed in a number of obscure plays/revues such as "Tinker's Dam" (1943) and "Musical Moment" (1943).
Following extensive work on the NY stage, which included her Broadway debut as an understudy and eventual replacement in "The Voice of the Turtle" (1945), she established herself as a major force on the Great White Way. Her first big break under the Broadway lights was her portrayal of the arch, lonely schoolteacher in William Inge's "Picnic", which earned her both the Outer Critics Circle and Theatre World awards in 1953. (Rosalind Russell played the role in the film version.)
Heckart was in demand by then as flinty, overwrought, down-to-earth types or wise-to-the-bone old gals. Later award-worthy Broadway hits would include "The Bad Seed" (which earned her the Donaldson award), "The Dark at the Top of the Stairs" (Tony-nom), "Invitation to a March" (Tony-nom), and "Butterflies Are Free" (Tony-nom). Intermixed were live performances on TV for such prestigious programs as "Goodyear Television Playhouse", "Kraft Television Theatre", "Studio One", "Suspense", "The Alcoa Hour", and "Playhouse 90".
Heckart was a dominant yet only intermittent force in films, making her debut in the so-so Miracle in the Rain (1956) featured as Jane Wyman's confidante. Although greatly disappointed at losing the bid to recreate her Broadway role in the film version of Picnic (1955) (Rosalind Russell won the honors), she did receive the satisfaction of transferring her scene-chewing stage role as the despairing, drunken mom whose son falls victim to young Patty McCormack's malevolent mischief in The Bad Seed (1956). For this Eileen copped both Oscar and Golden Globe nominations. During this period she fell into a number of dowdy matrons, dour moms and matter-of-fact gal friends with flashy roles in Somebody Up There Likes Me (1956), Bus Stop (1956), Hot Spell (1958) and Heller in Pink Tights (1960).
Earning another Tony nomination and the New York Drama Critics Award for her brittle role in the 1957 production of Inge's "The Dark at the Top of the Stairs", she was pregnant with her third child when the film version of The Dark at the Top of the Stairs (1960) started rolling and Angela Lansbury stepped in to replace her.
For most of the 1960s, she traded off TV guest parts ("Ben Casey", "Dr. Kildare", "The F.B.I.", "The Defenders") with theater roles ("Pal Joey", "Barefoot in the Park", "You Know I Can't Hear You When the Water's Running"). She was finally rewarded on film as blind Edward Albert's busybody mom in Butterflies Are Free (1972), netting the Academy Award for "Best Supporting Actress". It was a role she had played on Broadway, receiving her fourth Tony nomination.
The Oscar did not bring her the choice roles which other winners had enjoyed but she continued on in all three mediums quite enviably. While not fond of sitcom work, she gave Emmy-style for her guest work on such shows as "The Mary Tyler Moore Show", "Love & War", "Ellen", "Cybill", and was part of a short-lived ensemble series as one of The 5 Mrs. Buchanans (1994). She also put together a one-woman stage tribute to Eleanor Roosevelt and gave assertive theater performances in "The Ladies of the Alamo", "The Cemetery Club", and "Northeast Local".
The Tony Award eluded the four-time nominee during her long, eventful career. The Tony committee finally made up for this oversight in 2000 by awarding her a "special" Tony for "excellence in theater, triggered by her final, multiple award-winning success (Obie, Drama Desk) as an Alzheimer's patient in "The Waverly Gallery" in 2000. In retrospect, it was none too soon as Heckart, who worked nearly until the end, had been diagnosed with lung cancer, which was kept secret until after her death, on December 31, 2001, aged 82. - Actor
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Canadian-born Jack Kruschen entered films after years on the stage, and became a dependable character actor both in movies and on television. Often cast as ethnic comedy relief, Kruschen occasionally landed a role as a villain, but was more often the volatile, emotional Italian or Jewish neighbor patriarch. He was nominated for an Academy Award for his role in The Apartment (1960).- Actor
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Buddy Lester, stand-up comedian and character actor on television and in motion pictures was born in Chicago and became a fixture on the international nightclub circuit for seven decades. In Las Vegas, he opened for Frank Sinatra several times and appeared in the Rat Pack films Ocean's Eleven (1960) and Sergeants 3 (1962) . Lester also appeared with Jerry Lewis in five films,The Ladies Man (1961), The Nutty Professor (1963), The Patsy (1964), Three on a Couch (1966) and The Big Mouth (1967). Lester made his film debut playing himself as an entertainer in The Gene Krupa Story (1959) starring Sal Mineo. The comedian proved even more popular on television, and was a part of the regular cast of The New Phil Silvers Show (1963). Lester also appeared in several episodes of the police series' Adam-12 (1968) and Barney Miller (1975) and was also a familiar face on Love, American Style (1969), The New Dick Van Dyke Show (1971), The Odd Couple (1970) and Starsky and Hutch (1975).
A handsome man with dark hair, Lester could assume mockingly menacing personas because of a somewhat mysterious scar to the right of his mouth. He delighted in making up various stories about how he acquired it. He frequently said he got the scar when he was blown off a barge at Guadalcanal. He once used it to intimidate beefy rabble-rousers at a nearby table when he was watching friends on stage in a Chicago nightclub. And in a New York hotel, he told a group of Germans that he got the scar in a fencing duel while he was a student in Heidelberg. The truth, he confessed to the now-defunct Los Angeles Mirror in 1961, was: "I fell off a chair onto a broken water glass when I was 3 years old." Lester once considered plastic surgery to erase the mark, but changed his mind after a movie makeup artist liked it so much that he enlarged it for Lester's scenes.
Lester died Friday Oct. 4, 2002 of cancer in a Van Nuys nursing home. He was 86. Lester was survived by his son, Paul; daughter, Sylvia Jensen; four grandchildren and three great-grandchildren.- Phyllis Hannah Bickle was born in Chelsea in 1915 and studied dancing at the Margaret Morris school of dance, until an injury forced her to give up dancing and turn instead to acting. Her 70 year film career began with a bit part in The Arcadians (1927) when she was just 12 years old. Along with over 40 movies, she had a successful stage career, spanning 1925 ('Crossings' with Ellen Terry) to 1994 ('Bed') - appearing in such works as 'Blithe Spirit', 'The Heiress' and 'Peter Pan', as the title role of the boy who never grew up.
Phyllis' film breakthrough came in 1941 in the adaptation of the HG Wells story, The Remarkable Mr. Kipps (1941) in which she was cast as the servant girl, a part which had originally been turned down by Margaret Lockwood. In her next film, she was starring opposite international star Robert Donat, a far cry from the music hall comedians (George Formby, Arthur Askey) she had been acting with only a few years earlier. The Man in Grey (1943) truly catapulted her to stardom and from then on there was no looking back. Phyllis Calvert became one of the names most associated with the Gainsborough costume melodramas of the 1940s, usually as the sweet heroine, or the steadfast non-nonsense leader.
After a small trip to Hollywood in the late 1940s, Phyllis returned to England and earned her one BAFTA nomination for the role of the mother of a deaf girl in Crash of Silence (1952) but after that her film career slowed down, with family taking precedence. While shooting Indiscreet (1958), Phyllis was struck a cruel blow when her husband of 16 years, Peter Murray-Hill, passed away. Her stage career picked up markedly in the 1960s when she began taking more and more roles to better raise their two children solely. She gracefully slid into a niche of character roles, usually the kindly mother or aunt, and in 1970, had her own TV series, Kate (1970). In the 1980s she concentrated more on television, only appearing twice on stage. Her final play was in 1994, film in 1997, and TV appearance in 2000.