The Best Actress 1945
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María Casares was born on 21 November 1922 in A Coruña, Galicia, Spain. She was an actress, known for Children of Paradise (1945), Orpheus (1950) and The Ladies of the Bois de Boulogne (1945). She was married to André Schlesser. She died on 22 November 1996 in Alloue, Charente, France.1599 points- Actress
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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 85.1560 points- Actress
- Additional Crew
- Director
A leading lady of the 1940s, the tall and blonde Foch usually played cool, aloof and often foreign, women of sophistication. As film roles became harder to find, Foch proved to be versatile in many areas. She was a panelist on several TV quiz shows, worked as George Stevens' assistant director for The Diary of Anne Frank (1959) and directed plays. Since the 1960s, she has been an acting teacher for USC and the American Film Institute.1451 points- Actress
- Soundtrack
Ann Todd was a beautiful English actress best known as Gregory Peck's wife in Alfred Hitchcock's The Paradine Case (1947). Her third husband was the legendary director David Lean, for whom she appeared in three films, The Passionate Friends (1949), Madeleine (1950), and The Sound Barrier (1952).1441 points- Actress
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Before Arlette-Leonie Bathiat went to the movies she was a secretary and had posed several times as a model for different painters and photographers. In 1920 she debuted on stage at a theatre. She only began to work in movies after 1930. After World War II she was condemned to prison for having been the lover of a German official during the ocupation of France. In 1963 she had an accident which left her almost blind. Her most important movies were filmed and directed by Marcel Carné ("Hotel du Nord (1938)" or "Enfants du Paradis, Les (1945)").854 points- Actress
- Writer
- Producer
Jane Wyman was born Sarah Jane Mayfield on January 5, 1917, in St. Joseph, Missouri (she was also known later as Sarah Jane Fulks). When she was only eight years old, and after her parents filed for divorce, she lost her father prematurely. After graduating high school she attempted, with the help of her mother, to break into films, but to no avail. In 1935, after attending the University of Missouri, she began a career as a radio singer, which led to her first name change to Jane Durrell. In 1936 she signed a contract with Warner Bros. Pictures and that led to another name change, the more familiar one of Jane Wyman. Under that name she appeared in "A" and "B" pictures at Warners, including two with her future husband, Ronald Reagan: Brother Rat (1938) and its sequel, Brother Rat and a Baby (1940). In the early 1940s she moved into comedies and melodramas and gained attention for her role as Ray Milland's long-suffering girlfriend in The Lost Weekend (1945). The following year she was nominated for a Best Actress Oscar for her role as Ma Baxter in The Yearling (1946), and won the coveted prize in 1949 as deaf-mute rape victim Belinda MacDonald in Johnny Belinda (1948). She followed that with a number of appearances in more prestigious films, such as Alfred Hitchcock's Stage Fright (1950), Frank Capra's Here Comes the Groom (1951), Michael Curtiz's The Story of Will Rogers (1952) and the first movie version of The Glass Menagerie (1950). She starred opposite Bing Crosby in the musical Just for You (1952). She was Oscar-nominated for her performances in The Blue Veil (1951) and Magnificent Obsession (1954). She also starred in the immensely popular So Big (1953), Lucy Gallant (1955), All That Heaven Allows (1955) and Miracle in the Rain (1956). In addition to her extensive film career, she hosted TV's Jane Wyman Presents the Fireside Theatre (1955) and starred in most of the episodes of the show, which ran for three seasons. She came back to the big screen in Holiday for Lovers (1959), Pollyanna (1960) and her final film, How to Commit Marriage (1969). Although off the big screen, she became a presence on the small screen and starred in two made-for-TV movies, including The Incredible Journey of Doctor Meg Laurel (1979). In early 1981, in the 49th year of her career, she won the role of conniving matriarch Angela Channing Erikson Stavros Agretti in the movie "The Vintage Years", which was the unaired pilot for the prime-time soap opera Falcon Crest (1981), later in the year. For nine seasons she played that character in a way that virtually no other actress could have done, and became the moral center of the show. The show was a ratings winner from its debut in 1981, and made stars out of her fellow cast members Robert Foxworth, Lorenzo Lamas, Abby Dalton and Susan Sullivan. At the end of the first season the story line had her being informed that her evil son, played by David Selby, had inherited 50% of a California newspaper company, and the conflicts inherent in that situation led to even bigger ratings over the next five years. Wyman was nominated six times for a Soap Opera Digest Award, and in 1984 she won the Golden Globe for Best Performance by an Actress in a TV Series Drama. By the show's eighth season, however, she was emotionally drained and the strain of constantly working to keep up the quality of a hit show took its toll on her. In addition, there was friction on the set among cast members. All of these events culminated in her departure from the show after the first two episodes of the ninth season (her character was hospitalized and slipped into a coma) for health reasons. After a period of recuperation, she believed that she had recovered enough to guest-star in the last three episodes of the season (her doctor disagreed, but she did it anyway). She then guest-starred as Jane Seymour's mother on Dr. Quinn, Medicine Woman (1993) and three years later appeared in Wild Bill: Hollywood Maverick (1995). In the late 1990s she purchased a home in Rancho Mirage, California, where she lived in retirement. Her daughter, Maureen Reagan (who died in August 2001), was a writer who also involved herself in political issues and organized a powerful foundation. Also, she placed her 3200-sq.-ft. Rancho Mirage condominium on the market. Jane Wyman died at the age of 90, at her Palm Springs, California home, on September 10, 2007, having long suffered from arthritis and diabetes. It was reported that Wyman died in her sleep of natural causes at the Rancho Mirage Country Club.852 points- Actress
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- Soundtrack
Anna Magnani was born in Rome, Italy (not in Egypt, as some biographies claim), on March 7, 1908. She was the child of Marina Magnani and an unknown father often said to be from Alexandria, Egypt, but whom Anna herself claimed was from the Calabria region of Italy although she never knew his name. Raised in poverty by her maternal grandmother in Rome after her mother left her, Anna worked her way through Rome's Academy of Dramatic Art by singing in cabarets and night-clubs, then began touring the countryside with small repertory companies.
Although she had a small role in a silent film in the late 1920s, she was not known as a film actress until Doctor, Beware (1941), directed by Vittorio De Sica. Her break-through film was Roberto Rossellini's Rome, Open City (1945) (A.K.A. Open City), generally regarded as the first commercially successful Italian neorealist film of the postwar years and the one that won her an international reputation. From then on, she didn't stop working in films and television, winning an Academy Award for her performance in the screen version of Tennessee Williams' The Rose Tattoo (1955), a part that was written for her by her close friend Williams. She worked with all of Italy's leading directors of the 1950s, 1960s and 1970s.
She was renowned for her earthy, passionate, woman-of-the-soil roles. She and Rossellini were lovers for some years after Open City, until he began his infamous affair with Ingrid Bergman. She had one child, Luca, with Italian actor Massimo Serato. The boy was later stricken with polio and Magnani dedicated her life to caring for him. Her only marriage, to Italian director Goffredo Alessandrini in the mid-1930s, lasted only a short while and ended in an annulment. Her last film was Federico Fellini's Roma (1972). She died in her native Rome from pancreatic cancer the following year at age sixty-five.848 points- Celia Johnson was an English actress, once nominated for an Academy Award. Johnson was born in the town of Richmond, Surrey in 1908. Richmond was incorporated into Greater London in 1965, as part of an administrative reform. Celia's parents were John Robert Johnson and Ethel Griffiths. Neither of them was involved in show business.
In 1916, 8-year-old Johnson made her theatrical debut, at a performance of the play "King Cophetua and the Beggar Maid". It was a charity performance, to help raise funds for then-ongoing World War I. Nobody intended for her to become a professional actress, but she liked the stage experience.
Johnson attended St Paul's Girls' School in West London, from 1919 to 1926. She graduated at the age of 18. During her school years, Johnson often had acting parts in school plays, and played music in the school's orchestra. Her music teacher at the school was Gustav Holst (1874-1934), a relatively well-known classical composer.
In the late 1920s, Johnson studied acting at both the Royal Academy of Dramatic Art in London, and the Comédie-Française in Paris. One of her teachers was French actor Pierre Fresnay (1897-1975). One of her classmates in London was Margaretta Scott (1912-2005)
In 1928, Johnson made her professional debut, cast in a performance of the play "Major Barbara" (1905) by George Bernard Shaw. In 1929, she first performed in London, and in 1931 she first performed in New York City. She made a name for herself as a theatrical actress throughout the 1930s, and married journalist Peter Fleming (1907-1971).
Johnson's career and personal life were derailed by World War II. A hit role as the second Mrs. Winter in a 1940 theatrical adaptation of "Rebecca" by Daphne du Maurier, was cut short. The theatre where Johnson was performing was damaged through London's bombing by the Luftwaffe. Johnson's widowed sister and sister-in-law moved in with her, bringing their kids with. Having to care for 7 kids (both her own children and her nephews), left Johnson with no time to spare for theatrical tours.
Seeking a way to supplement her income during the War, Johnson started appearing in theatrical films. She started with small parts, but got her first major hit with the family drama "The Happy Breed" (1944), which followed the ups-and-downs in the life of a (fictional) family over a period of several decades. For this role, Johnson received a National Board of Review Award for Best Actress.
In 1945, Johnson was starring in another hit film, the romantic drama "Brief Encounter". It featured her in the role of Laura Jesson, a housewife trapped in a dull and monotonous marriage. Laura falls in love with a new man in her life, Dr. Alec Harvey, and he falls in love with her. With circumstances keep this relationship platonic, until Harvey leaves the country to work abroad. Laura contemplates suicide, but is forced to return to her monotonous life. The role gained Johnson a New York Film Critics Circle Award for Best Actress, and a nomination for the Academy Award for Best Actress.
For most of the late 1940s, Johnson was in semi-retirement. She had given birth to two daughters and felt that she needed to devote more time to her family. From the 1950s to her death, Johnson was primarily appearing in theatrical plays and television roles. Her film roles were few, but critically well-received.
In 1982, the 76-year-old Johnson was busy with another theatrical tour. During a day-off from the tour, Johnson returned to her home in Nettlebed, Oxfordshire. She invited friends over to play bridge, but suffered a stroke during the game. She died a few hours later, while still in her home. She left an estate worth £150,557. She was survived by three children.
Johnson's fame as a theatrical actress faded away following her death, as there were few filmed versions of her performances. However, her film roles became available on the home video market, and they have helped introduce Johnson to new generations of fans.837 points - Actress
- Soundtrack
Joan Geraldine Bennett was born on February 27, 1910, in Palisades, New Jersey. Her parents were both successful stage actors, especially her father, Richard Bennett, and often toured the country for weeks at a time. In fact, Joan came from a long line of actors, dating back to the 18th century. Often, when her parents were on tour, Joan and her two older sisters, Constance Bennett, who later became an actress, and Barbara were left in the care of close friends. At the age of four, Joan made her first stage appearance. She debuted in films a year later in The Valley of Decision (1916), in which her father was the star and the entire Bennett clan participated. In 1923 she again appeared in a film which starred her father, playing a pageboy in The Eternal City (1923). It would be five more years before Joan appeared again on the screen. In between, she married Jack Marion Fox, who was 26 compared to her young age of 16. The union was anything but happy, in great part because of Fox's heavy drinking. In February of 1928 Joan and Jack had a baby girl they named Adrienne. The new arrival did little to help the marriage, though, and in the summer of 1928 they divorced. Now with a baby to support, Joan did something she had no intention of doing--she turned to acting. She appeared in Power (1928) with Alan Hale and Carole Lombard, a small role but a start. The next year she starred in Bulldog Drummond (1929), sharing top billing with Ronald Colman. Before the year was out she was in three more films--Disraeli (1929), The Mississippi Gambler (1929) and Three Live Ghosts (1929). Not only did audiences like her, but so did the critics. Between 1930 and 1931, Joan appeared in nine more movies. In 1932 she starred opposite Spencer Tracy in She Wanted a Millionaire (1932), but it wasn't one she liked to remember, partly because Tracy couldn't stand the fact that everyone was paying more attention to her than to him. Joan was to remain busy and popular throughout the rest of the 1930s and into the 1940s. By the 1950s Joan was well into her 40s and began to lessen her film appearances. She made only eight pictures, in addition to appearing in two television series. After Desire in the Dust (1960), Joan would be absent from the movie scene for the next ten years, resurfacing in House of Dark Shadows (1970), reprising her role from the Dark Shadows (1966) TV series as Elizabeth Collins Stoddard. Joan's final screen appearance was in the Italian thriller Suspiria (1977). Her final public performance was in the TV movie Divorce Wars: A Love Story (1982). On December 7, 1990, Joan died of a heart attack in Scarsdale, New York. She was 80 years old.813 points- Actress
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Picture-pretty brunette Margaret Lindsay was one of a number of pleasant, sweet-natured ingénues who could do no wrong in a score of 1930s stylish Hollywood pictures. Such altruistic love interests were often overlooked in pictures that were carried by the flashy histrionics of a jaunty James Cagney or temperamental Bette Davis, both of whom she supported in several films. Ergo, while she was a lovely distraction and a highly capable talent, Margaret failed to ignite and command the attention of a truer star.
The Dubuque, Iowa-born lovely was christened Margaret Kies in real life, the eldest of six (she had four sisters (Helen, Jane, Lori, Mickie), one brother (Jack)). Her father, a druggist, enrolled her at the National Park Seminary in Washington, DC. The acting bug hit Margaret quite early, however, and she subsequently attended New York's American Academy of Dramatic Arts to pursue her dream. Unable to find work in New York, she traveled to England for further speech and acting study. Here she made her professional stage debut and gained experience and confidence in such plays as "Escape," "By Candlelight," and "Death Takes a Holiday". With her resume now consisting of strong theatre credits, she returned to the States hoping to finally make a mark on Broadway, but again her career stalled. While waiting for a show of hers to open following production delays (eventually she co-starred on Broadway opposite Roland Young in "Another Love Story"), Margaret had a number of screen tests arranged for her. Shelving her Iowa-based roots, Universal took an interest in the "British stage actress" and signed her on. She made her debut in Okay America! (1932) and toiled in a few minor roles before taking full advantage of her "English tea rose" reputation with a small but noticeable part in the "all-British" grand-scale epic film Cavalcade (1933) as an optimistic honeymooner on board the fateful H.M.S.Titanic.
Warner Bros. then picked up her option and began featuring her gracefully opposite such magnanimous stars as Leslie Howard, Douglas Fairbanks Jr., George Arliss and Humphrey Bogart. "Americanized" as a lead and second lead, she was able to drop the British pretense and appeared opposite Cagney in Lady Killer (1933), Devil Dogs of the Air (1935), Frisco Kid (1935) and 'G' Men (1935). The studio had her work as a second-lead to Ms. Davis as well in such films as Fog Over Frisco (1934) and Bordertown (1935). Of note, she supported Davis in both her Oscar-winning "Best Actress" pictures -- Dangerous (1935) and Jezebel (1938). She also took on a Davis castoff role in Garden of the Moon (1938), a musical in which Margaret did not sing.
Margaret's longstanding problem was that she was either involved in minor pictures that would do nothing to advance her career or was handed oblique secondary roles in "A" pictures wherein she played the star's best friend, light romantic rival or socialite. One of Margaret's sisters, Jane Gilbert was briefly an actress in the late 1930s/early '40s and was once married to Perry Mason (1957) co-star William Hopper, who played private investigator Paul Drake.
Following one of her best roles as Hepzibah in Nathaniel Hawthorne's The House of the Seven Gables (1940), Margaret signed up with Columbia in the recurring "Ellery Queen" series (seven in all) as mystery writer Nikki Porter opposite either Ralph Bellamy or William Gargan's title crime solver. Probably her best remembered role, this renewed popularity did not guarantee "A" pictures and she remained for the most part in second tier filming. One of her more atypical roles came as a man-baiting saloon girl in The Vigilantes Return (1947). In the 1940s, she replenished her film resume with secondary ladylike roles behind Joan Bennett in Scarlet Street (1945), Lana Turner in Cass Timberlane (1947) and Barbara Stanwyck in B.F.'s Daughter (1948). Margaret also sought work on TV and on the legit stage in the next decade. Her final film was in typically pleasant mode as Nurse Colman in Tammy and the Doctor (1963) showcasing a nubile Sandra Dee.
Margaret never married in real life but remained close to her family. Her dating companions were typically "safe" stars such as Cesar Romero, Richard Deacon, and even Liberace. For much of her time in Hollywood, Margaret shared a home with a close sister. She died at age 70 in Los Angeles of emphysema in the spring of 1981.813 points- Actress
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With blonde hair, big blue eyes and a big smile, Joan Blondell was usually cast as the wisecracking working girl who was the lead's best friend.
Joan was born Rose Blondell in Manhattan, New York, the daughter of Katie and Eddie Blondell, who were vaudeville performers. Her father was a Polish Jewish immigrant, and her mother was of Irish heritage. Joan was on the stage when she was three years old. For years, she toured the circuit with her parents and joined a stock company when she was 17. She made her New York debut with the Ziegfeld Follies and appeared in several Broadway productions.
She was starring with James Cagney on Broadway in "Penny Arcade" (1929) when Warner Brothers decided to film the play as Sinners' Holiday (1930). Both Cagney and Joan were given the leads, and the film was a success. She would be teamed with Cagney again in The Public Enemy (1931) and Blonde Crazy (1931) among others. In The Office Wife (1930), she stole the scene when she was dressing for work. While Warner Brothers made Cagney a star, Joan never rose to that level. In gangster movies or musicals, her performances were good enough for second leads, but not first lead. In the 1930s, she made a career playing gold-diggers and happy-go-lucky girlfriends. She would be paired with Dick Powell in ten musicals during these years, and they were married for ten years. By 1939, Joan had left Warner Brothers to become an independent actress, but by then, the blonde role was being defined by actresses like Veronica Lake. Her work slowed greatly as she went into straight comedy or dramatic roles. Three of her better roles were in Topper Returns (1941), Cry 'Havoc' (1943), and A Tree Grows in Brooklyn (1945). By the 50s, Joan would garner an Academy Award nomination for The Blue Veil (1951), but her biggest career successes would be on the stage, including a musical version of "A Tree Grows in Brooklyn."
In 1957, Joan would again appear on the screen as a drunk in Lizzie (1957) and as mature companion to Jayne Mansfield in Will Success Spoil Rock Hunter? (1957). While she would appear in a number of television shows during the 50s and 60s, she had the regular role of Winifred on The Real McCoys (1957) during the 1963 season. Her role in the drama The Cincinnati Kid (1965) was well received, but most of her remaining films would be comedies such as Waterhole #3 (1967) and Support Your Local Gunfighter (1971). Still in demand for TV, she was cast as Lottie on Here Come the Brides (1968) and as Peggy on Banyon (1971).802 points- Actress
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Donna Reed was born in the midwestern town of Denison, Iowa, on January 27, 1921, as Donna Belle Mullenger. A small town - a population of less than 3,000 people - Denison was located by the Boyer River, and was the county seat of Crawford County. Donna grew up as a farm girl, much like many young girls in western Iowa, except for one thing - Donna was very beautiful. That wasn't to say that others weren't as pretty, it's just that Donna's beauty stood out from all the other local girls, so much so that she won a beauty contest in Denison. Upon graduation from high school Donna left for college in Los Angeles, in the hopes of eventually entering movies. While at Los Angeles City College, she pursued her dream by participating in several college stage productions. In addition to the plays, she also won the title of Campus Queen. At one of those stage plays Donna was spotted by an MGM talent scout and was signed to a contract. Her first film was a minor role in MGM's The Getaway (1941). That was followed by a small part in Babes on Broadway (1941), with Mickey Rooney and Judy Garland as a secretary. She then won her breakthrough role in Shadow of the Thin Man (1941). Afterwards, MGM began giving her better parts, in films such as The Bugle Sounds (1942), The Courtship of Andy Hardy (1942) and The Man from Down Under (1943). In 1944 she received second billing playing Carol Halliday in See Here, Private Hargrove (1944), a comedy about a reporter drafted into the army who eventually meets up with Donna's character as a worker in the canteen. The following year Donna starred in The Picture of Dorian Gray (1945), her best role to date. It was a love story set in London in 1890. It got mixed critical reviews but did well at the box-office. Donna was now one of the leading ladies of Hollywood. In 1946 she starred in what is probably her best-known role, as the wife of James Stewart in the classic It's a Wonderful Life (1946). This timeless story is a holiday staple to this day. The film also starred Lionel Barrymore and Thomas Mitchell. The next year Donna starred as Ann Daniels in Paramount's Beyond Glory (1948) with Alan Ladd, which did well at the box-office. Her next role was the strongest she had had yet--Chicago Deadline (1949), again with Ladd. It was one of the best mystery dramas to come out of Hollywood in a long time, and did very well at the box office. As the 1940s faded out and the 1950s stormed in, Donna's roles got bigger but were mainly of the wholesome, girl-next-door type. In 1953, however, she starred as the hostess Alma in the widely acclaimed From Here to Eternity (1953). She was so good in that film she was nominated for and won the Academy Award for Best Supporting Actress, beating out such veterans as Thelma Ritter and Marjorie Rambeau. The film itself won for Best Picture and remains a classic to this day. Later that year Donna starred in The Caddy (1953), a comedy with Jerry Lewis and Dean Martin. Three years later she landed the role of Sacajawea in The Far Horizons (1955), the story of the Lewis and Clark Expedition, starring Charlton Heston and Fred MacMurray. After finishing The Whole Truth (1958), Donna began her own TV series (produced by her husband), The Donna Reed Show (1958), a hit that ran for eight years. She was so effective in the show that she was nominated for TV's prestigious Emmy Award as Best Actress every year from 1959-1962. She was far more popular in TV than on the screen. After the run of the program, Donna took some time away from show business before coming back in a couple of made-for-TV movies (in 1974, she had made a feature called Welcome to Arrow Beach (1973), but it was never released). She did get the role of Ellie Ewing Farlow in the hit TV series Dallas (1978) during the 1984-85 season. It was to be her final public performance. On January 14, 1986, less than two weeks before her 65th birthday, she died of pancreatic cancer in Beverly Hills, California. Grover Asmus, her husband, created the Donna Reed Foundation for the Performing Arts in her hometown of Denison. The foundation helps others who desire a career in the arts. Donna never forgot her roots. She was still a farm girl at heart.794 points- Actress
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- Executive
Angela Lansbury was born in 1925 into a prominent family of the upper middle class living in the Regent's Park neighborhood of London. Her father was socialist politician Edgar Isaac Lansbury (1887-1935), a member of both the Communist Party of Great Britain (CPGB) and the Labour Party. Edgar served as Honorary Treasurer of the East London Federation of Suffragettes (term 1915), and Mayor of Poplar (term 1924-1925). He was the second Communist mayor in British history, the first being Joe Vaughan (1878-1938). Lansbury's mother was Irish film actress Moyna Macgill (1895-1975), originally from Belfast. During the first five years of Angela's life, the Lansbury family lived in a flat located in Poplar. In 1930, they moved to a house located in the Mill Hill neighborhood of north London. They spend their weekends vacationing in a farm located in Berrick Salome, a village in South Oxfordshire.
In 1935, Edgar Lansbury died from stomach cancer. Angela reportedly retreated into "playing characters", as a coping mechanism to deal with the loss. The widowed Moyna Macgill soon became engaged to Leckie Forbes, a Scottish colonel. Moyna moved into his house in Hampstead.
From 1934 to 1939, Angela was a student at South Hampstead High School. During these years, she became interested in films.. She regularly visited the local cinema, and imagined herself in various roles. Angela learned how to play the piano, and received a musical education at the Ritman School of Dancing.
In 1940, Lansbury started her acting education at the Webber Douglas School of Singing and Dramatic Art, located in Kensington, West London. She made her theatrical debut in the school's production of the play "Mary of Scotland" (1933) by Maxwell Anderson (1888-1959). The play depicted the life of Mary, Queen of Scots (1542-1587, reigned 1542-1567), and Lansbury played one of the queen's ladies-in-waiting.
Also in 1940, Lansbury's paternal grandfather, George Lansbury, died from stomach cancer. When the Blitz started, Moyna Macgill had reasons to fear for the safety of her family and few remaining ties to England. Macgill moved to the United States to escape the Blitz, taking her three youngest children with her. Isolde was already a married adult, and was left behind in England.
Macgill secured financial sponsorship from American businessman Charles T. Smith. She and her children (including Angela) moved into Smith's house in Mahopac, New York, a hamlet in Putnam County. Lansbury was interested in continuing her studies, and secured a scholarship from the American Theatre Wing. From 1940 to 1942, Lansbury studied acting at the Feagin School of Dramatic Art, located in New York City. She appeared in performances organized by the school.
In 1942, Lansbury moved with her family to a flat located in Morton Street, Greenwich Village. She soon followed her mother in her theatrical tour of Canada. Lansbury secured her first paying job in Montreal, singing at the nightclub Samovar Club for a payment of 60 dollars per week. Lansbury was 16 years old at the time, but lied about her age and claimed to be 19 in order to be hired.
Lansbury returned to New York City in August, 1942, but Moyna Macgill soon moved herself and her family again. The family moved to Los Angeles, where Moyna was interested in resurrecting her film career. Their first home there was a bungalow in Laurel Canyon, a neighborhood in the Hollywood Hills.
Lansbury helped financially support her family by working for the Bullocks Wilshire department store in Los Angeles. Her weekly wages were only 28 dollars, but she had a secure income while her mother was unemployed. Through her mother, Lansbury was introduced to screenwriter John Van Druten (1901-1957), who had recently completed his script of "Gaslight" (1944). He suggested that young Lansbury would be perfect for the role of Nancy Oliver, the film's conniving cockney maid. This helped secure Lansbury's first film role at the age of 17, and a seven-year contract with the film studio Metro-Goldwyn-Mayer. She earned 500 dollars per week, and chose to continue using her own name instead of a stage name.
In 1945, Lansbury married actor Richard Cromwell (1910-1960), who was 15 years older than she. The troubled marriage ended in a divorce in 1946. The former spouses remained friends until Cromwell's death.
In 1946, Lansbury started a romantic relationship with aspiring actor Peter Shaw (1918-2003), who was 7 years older than her. Shaw had recently ended his relationship with actress Joan Crawford (c. 1908-1977). The new couple started living together, while planning marriage. They wanted to be married in the United Kingdom, but the Church of England refused to marry two divorcees. They were married in 1949, in a Church of Scotland ceremony at St. Columba's Church, located in Knightsbridge, London. After their return to the United States, they settled into Lansbury's home in Rustic Canyon, Malibu. In 1951, both Lansbury and Shaw became naturalized citizens of the United States, while retaining their British citizenship.
Meanwhile, Lansbury continued appearing in MGM films. She appeared in 11 MGM films between 1945 and 1952. MGM at times loaned Lansbury to other film studios. She appeared in United Artists' "The Private Affairs of Bel Ami" (1947), and Paramount Pictures' "Samson and Delilah" (1949). In 1948, Lansbury made her debut in radio roles, followed by her television debut in 1950.
In 1952, Lansbury requested the termination of her contract with MGM, instead of its renewal. She felt unsatisfied with her film career as an MGM contract player. She then joined the East Coast touring productions of two former Broadway plays. By 1953, Lansbury had two children of her own and was also raising a stepson. She and her family moved into a larger house, located on San Vincente Boulevard in Santa Monica. In 1959, she and her family moved into a house in Malibu. The married couple were able to send their children to a local public school.
Meanwhile she continued her film career as a freelance actress, but continued to be cast in middle-aged roles. She regained her A-picture actress through well-received roles in the drama film "The Long, Hot Summer" (1958) and the comedy film "The Reluctant Debutante" (1958). She also appeared regularly in television roles, and became a regular on game show "Pantomime Quiz" (1947-1959).
In 1957, Lansbury made her Broadway debut in a performance of "Hotel Paradiso". The play was an adaptation of the 1894 "L'Hôtel du libre échange" ("Free Exchange Hotel"), written by Maurice Desvallières (1857-1926) and Georges Feydeau (1862-1921). Lansbury's role as "Marcel Cat" was critically well received. She continued appearing in Broadway over the next several years, most notably cast as the verbally abusive mother in "A Taste of Honey". She was cast as the mother of co-star Joan Plowright (1929-), who was only four years younger.
In the early 1960s, Lansbury was cast as an overbearing mother in "Blue Hawaii" (1961). The role of her son was played by Elvis Presley (1935-1977), who was only 10 years than her. The film was a box office hit, it finished as the 10th-top-grossing film of 1961 and 14th for 1962 on the "Variety" national box office survey. It gained Lansbury renewed fame, at a difficult point of her career.
Lansbury gained critical praise for a sympathetic role in the drama film "The Dark at the Top of the Stairs" (1960), and the role of a manipulative mother in the drama film "All Fall Down" (1962). Based on her success in "All Fall Down", she was cast in a similar role in the Cold War-themed thriller "The Manchurian Candidate" (1962). She was cast as Eleanor Iselin, the mother of her co-star Laurence Harvey (1928-1973), who was only 3 years younger than she. This turned out to be one of the most memorable roles in her career. She received critical acclaim and was nominated for a third time for the Academy Award for Best Supporting Actress. The award was instead won by Patty Duke (1946-2016).
Lansbury made a comeback in the starring role of Mame Dennis in the musical "Mame" (1966), by Jerome Lawrence (1915-2004) and Robert Edwin Lee (1918-1994). The play was an adaptation of the novel "Auntie Mame: An Irreverent Escapade" (1955) by Patrick Dennis (1921-1976), and focused on the life and ideas of eccentric bohemian Mame Dennis. The musical received critical and popular praise, and Lansbury won her first Tony Award for Best Leading Actress in a Musical. Lansbury gained significant fame from her success, becoming a "superstar".
Her newfound fame led to other high-profile appearances by Lansbury. She starred in a musical performance at the 1968 Academy Awards ceremony, and co-hosted the 1968 Tony Awards. The Hasty Pudding Club, a social club for Harvard students. elected her "Woman of the Year" in 1968.
Lansbury's next theatrical success was in 1969 "The Madwoman of Chaillot" (1945) by Jean Giraudoux (1882-1944). The play concerns an eccentric Parisian woman's struggles with authority figures. Lansbury was cast in the starring role of 75-year-old Countess Aurelia, despite her actual age of 44. The show was well received and lasted for 132 performances. Lansbury won her second Tony Award for this role.
In 1970, Lansbury's Malibu home was destroyed in a brush fire. Lansbury and her husband decided to buy Knockmourne Glebe, an 1820s Irish farmhouse, located near the village of Conna in rural County Cork.
Her film career reached a new height. She was cast in the starring role of benevolent witch Eglantine Price in Disney's fantasy film "Bedknobs and Broomsticks" (1971). The film was a box-office hit; it was critically well received, and introduced Lansbury to a wider audience of children and families.
In 1972, Lansbury returned to the British stage, performing in London's West End with the Royal Shakespeare Company. In 1973, Lansbury appeared in the role of Rose in London performances of the musical "Gypsy" (1959) by Arthur Laurents. It was quite successful. In 1974, "Gypsy" went on tour in the United States. with the same cast. For her role, Lanbury won the Sarah Siddons Award and her third Tony Award. The musical had its second tour in 1975.
Tired from musicals. Lansbury next sought Shakespearean roles in the United Kingdom. From 1975 to 1976, she appeared as Queen Gertrude in the National Theatre Company's production of Hamlet. In November 1975, Lansbury's mother Moyna Macgill died at the age of 79. Lansbury arranged for her mother's remains to be cremated, and the ashes scattered near her own County Cork home.
In 1976, Lansbury returned to the American stage. In 1978, Lansbury temporarily replaced Constance Towers (1933-) in the starring role of Anna Leonowens (1831-1915) in The King and I. While Towers was on a break from the role, Lansbury appeared in 24 performances.
In 1978, Lansbury appeared in her first film role in seven years, as the novelist and murder victim Salome Otterbourne in the mystery film "Death on the Nile" (1978). The film was an adaptation of the 1937 novel by Agatha Christie (1890-1976); Otterbourne was loosely based on real-life novelist Elinor Glyn (1864-1943). The film was a modest box-office hit, and Lansbury befriended her co-star Bette Davis (1908-1989).
In 1979, Lansbury was cast in the role of meat pie seller Mrs. Lovett in the musical "Sweeney Todd: The Demon Barber of Fleet Street" (1979), by Stephen Sondheim and Hugh Wheeler (1912-1987). The musical was loosely based on the penny dreadful serial novel "The String of Pearls: A Domestic Romance" (1846-1847), which first depicted fictional serial killer Sweeney Todd. Lansbury remained in the role for 14 months, and was then replaced by Dorothy Loudon (1925-2003). Lansbury won her fourth Tony Award for this role. She returned to the role for 10 months in 1980.
Lansbury's next prominent film role was that of Miss Froy in "The Lady Vanishes" (1979), a remake of the 1938 film directed by Alfred Hitchcock (1899-1980). She was next cast in the role of amateur sleuth Miss Jane Marple in the mystery film "The Mirror Crack'd" (1980), an adaptation of the novel "The Mirror Crack'd from Side to Side" (1962) by Agatha Christie. The novel was loosely inspired by the life of Gene Tierney (1920-1991). The film was a modest commercial success. There were plans for at least two sequels, but they ended in development hell.
In 1982, Lansbury was inducted into the American Theatre Hall of Fame, She appeared at the time in the new play "A Little Family Business" and a revival of "Mame", but both shows were commercial failures. In film, Lansbury voiced the witch Mommy Fortuna in the animated fantasy film "The Last Unicorn" (1982). The film was critically well received, but was not a box-office hit.
Lansbury played Ruth in the musical comedy "The Pirates of Penzance" (1983), a film adaptation of the 1879 comic opera by William Schwenck Gilbert (1836-1911) and Arthur Sullivan (1842-1900). The film was a box office bomb, earning about 695,000 dollars.
Lansbury's next film role was that of Granny in the gothic fantasy film "The Company of Wolves" (1984), based on a 1979 short story by Angela Carter (1940-1992). Lansbury was cast as the grandmother of protagonist Rosaleen (played by Sarah Patterson), in a tale featuring werewolves and shape-shifting. The film was critically well received, but barely broke even at the box office.
At about that time, Lansbury appeared regularly in television films and mini-series. Her most prominent television role was that of Jessica Fletcher in the detective series "Murder, She Wrote" (1984-1996). Jessica was depicted as a successful mystery novelist from Maine who encounters and solves many murders. The character was considered an American counterpart to Miss Marple. The series followed the "whodunit" format and mostly avoided depictions of violence or gore.
The series was considered a television landmark for having an older female character as the protagonist. It was aimed primarily at middle-aged audiences, but also attracted both younger viewers and senior citizen viewers. Ratings remained high for most of its run. Lansbury rejected pressure from network executives to put her character in a relationship, as she believed that Fletcher should remain a strong single female.
In 1989, Lansbury co-founded the production company Corymore Productions, which started co-producing the television series with Universal Television. This allowed Lansbury to have more creative input on the series. She was appointed an executive producer. By the time the series ended in 1996, it tied with the original "Hawaii Five-O" (1968-1980) as the longest-running detective drama series in television history.
Her popularity from "Murder, She Wrote" made Lansbury a much-sought figure for advertisers. She appeared in advertisements and infomercials for Bufferin, MasterCard and the Beatrix Potter Company.
Lansbury's highest-profile film role in decades was voicing the character of singing teapot Mrs. Potts in Disney's animated fantasy film "Beauty and the Beast" (1991). Lansbury performed the film's title song, which won the Academy Award for Best Original Song, the Golden Globe Award for Best Original Song, and the Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media.
During the late 1980s and 1990s, Lansbury lived most of the year in California. In 1991, she had Corymore House, a farmhouse at Ballywilliam, County Cork, built as her new family home. She spend Christmases and summers there.
Following the end of "Murder, She Wrote", Lansbury returned to a career as a theatrical actress. She temporarily retired from the stage in 2001, to take care of her husband Peter Shaw, whose health was failing. Shaw died in 2003, from congestive heart failure at the couple's Brentwood, California home. Their marriage had lasted for 54 years (1949-2003).
Lansbury felt at the time that she could not take on any more major acting roles, but that she could still make cameos. She moved back to New York City in 2006, buying a condominium in Manhattan. Her first prominent film role in years was that of Aunt Adelaide in the fantasy film "Nanny McPhee" (2005). She credits her performance in the film with pulling her out of depression, a state of mind which had lasted since her husband's death.
Lansbury returned to performing on the Broadway stage in 2007, after an absence of 23 years. In 2009, she won her fifth Tony Award. She shared the record for most Tony Award victories with Julie Harris (1925-2013). In the 2010s, she continued regularly appearing in theatrical performances. In 2014, she returned to the London stage, after an absence of nearly 40 years.
In 2015, Lansbury received her first Olivier Award for Best Supporting Actress. At age 89, she was among the oldest first-time winners. Also in 2015, November 2015 was awarded the Oscar Hammerstein Award for Lifetime Achievement in Musical Theatre.
In 2017, she was cast as Aunt March in the mini-series "Little Women". The mini-series was an adaptation of the 1868-1869 novel of the same name by Louisa May Alcott (1832-1888). The series lasted for 3 episodes, and was critically well received.
In 2018, Lansbury gained her next film role in Disney's fantasy film "Mary Poppins Returns" (2018), a sequel to "Mary Poppins". Lansbury was cast in the role of the Balloon Lady, a kindly old woman who sells balloons at the park. The films was a commercial hit, earning about 350 million dollars at the worldwide box office.
In 2019, Lansbury performed at a one-night benefit staging of Oscar Wilde's play "The Importance of Being Earnest" (1895). a farce satirizing Victorian morals. She was cast in the role of society lady Lady Bracknell, mother to Gwendolen Fairfax.
By 2020, Lansbury was 95 years old, one of the oldest-living actresses. She has never retired from acting, and remains a popular icon.794 points- Actress
- Producer
- Soundtrack
Ingrid Bergman was one of the greatest actresses from Hollywood's lamented Golden Era. Her natural and unpretentious beauty and her immense acting talent made her one of the most celebrated figures in the history of American cinema. Bergman is also one of the most Oscar-awarded actresses, tied with Meryl Streep and Frances McDormand, all three of them second only to Katharine Hepburn.
Ingrid Bergman was born on August 29, 1915 in Stockholm, Sweden, to a German mother, Frieda Henrietta (Adler), and a Swedish father, Justus Samuel Bergman, an artist and photographer. Her mother died when she was only two and her father died when she was 12. She went to live with an elderly uncle.
The woman who would be one of the top stars in Hollywood in the 1940s had decided to become an actress after finishing her formal schooling. She had had a taste of acting at age 17 when she played an uncredited role of a girl standing in line in the Swedish film Landskamp (1932) in 1932 - not much of a beginning for a girl who would be known as "Sweden's illustrious gift to Hollywood." Her parents died when she was just a girl and the uncle she lived with didn't want to stand in the way of Ingrid's dream. The next year she enrolled at the Royal Dramatic Theatre School in Stockholm but decided that stage acting was not for her. It would be three more years before she would have another chance at a film. When she did, it was more than just a bit part. The film in question was The Count of the Old Town (1935), where she had a speaking part as Elsa Edlund. After several films that year that established her as a class actress, Ingrid appeared in Intermezzo (1936) as Anita Hoffman. Luckily for her, American producer David O. Selznick saw it and sent a representative from Selznick International Pictures to gain rights to the story and have Ingrid signed to a contract. Once signed, she came to California and starred in United Artists' 1939 remake of her 1936 film, Intermezzo (1939), reprising her original role. The film was a hit and so was Ingrid.
Her beauty was unlike anything the movie industry had seen before and her acting was superb. Hollywood was about to find out that they had the most versatile actress the industry had ever seen. Here was a woman who truly cared about the craft she represented. The public fell in love with her. Ingrid was under contract to go back to Sweden to film Only One Night (1939) in 1939 and June Night (1940) in 1940. Back in the US she appeared in three films, all well-received. She made only one film in 1942, but it was the classic Casablanca (1942) opposite Humphrey Bogart.
Ingrid was choosing her roles well. In 1943 she was nominated for an Academy Award for her role in For Whom the Bell Tolls (1943), the only film she made that year. The critics and public didn't forget her when she made Gaslight (1944) the following year--her role of Paula Alquist got her the Oscar for Best Actress. In 1945 Ingrid played in Spellbound (1945), Saratoga Trunk (1945) and The Bells of St. Mary's (1945), for which she received her third Oscar nomination for her role of Sister Benedict. She made no films in 1947, but bounced back with a fourth nomination for Joan of Arc (1948). In 1949 she went to Italy to film Stromboli (1950), directed by Roberto Rossellini. She fell in love with him and left her husband, Dr. Peter Lindstrom, and daughter, Pia Lindström. America's "moral guardians" in the press and the pulpits were outraged. She was pregnant and decided to remain in Italy, where her son was born. In 1952 Ingrid had twins, Isotta and Isabella Rossellini, who became an outstanding actress in her own right, as did Pia.
Ingrid continued to make films in Italy and finally returned to Hollywood in 1956 in the title role in Anastasia (1956), which was filmed in England. For this she won her second Academy Award. She had scarcely missed a beat. Ingrid continued to bounce between Europe and the US making movies, and fine ones at that. A film with Ingrid Bergman was sure to be a quality production. In her final big-screen performance in 1978's Autumn Sonata (1978) she had her final Academy Award nomination. Though she didn't win, many felt it was the most sterling performance of her career. Ingrid retired, but not before she gave an outstanding performance in the mini-series A Woman Called Golda (1982), a film about Israeli prime minister Golda Meir. For this she won an Emmy Award as Best Actress, but, unfortunately, she did not live to see the fruits of her labor.
Ingrid died from cancer on August 29, 1982, her 67th birthday, in London, England.778 points- Actress
- Soundtrack
Linda Darnell, one of five children of a postal clerk, grew up fast. At 11, she was modeling clothes, giving her age as 16. At 13, she was appearing on the stage with little theater groups. Her mother encouraged her to audition when Hollywood talent scouts came to Dallas. She went to California and when the studio found out how young she really was, she was sent home and told to come back when she was 15. Her fourth film, Star Dust (1940), was based on this real life experience. It was Star Dust (1940) that Darnell was watching the night of April 9, 1965, at the home of her former secretary, located in Glenview, Illinois, a suburb of Chicago. The house caught on fire in the early hours of the next morning and Darnell died that afternoon in Cook County Hospital. The character she played in one of her best known roles, Forever Amber (1947) survived the London fire, the plague and the perils of being the mistress of the English king, Charles II.759 points- Actress
- Writer
- Producer
Joan Crawford was born Lucille Fay LeSueur on March 23, 1906, in San Antonio, Texas, to Anna Belle (Johnson) and Thomas E. LeSueur, a laundry laborer. By the time she was born, her parents had separated, and by the time she was a teenager, she'd had three stepfathers. It wasn't an easy life; Crawford worked a variety of menial jobs. She was a good dancer, though, and -- perhaps seeing dance as her ticket to a career in show business -- she entered several contests, one of which landed her a spot in a chorus line. Before long, she was dancing in big Midwestern and East Coast cities. After almost two years, she packed her bags and moved to Hollywood. Crawford was determined to succeed, and shortly after arriving she got her first bit part, as a showgirl in Pretty Ladies (1925).
Three films quickly followed; although the roles weren't much to speak of, she continued toiling. Throughout 1927 and early 1928, she was cast in small parts, but that ended with the role of Diana Medford in Our Dancing Daughters (1928), which elevated her to star status. Crawford had cleared the first big hurdle; now came the second, in the form of talkies. Many stars of the silents saw their careers evaporate, either because their voices weren't particularly pleasant or because their voices, pleasing enough, didn't match the public's expectations (for example, some fans felt that John Gilbert's tenor didn't quite match his very masculine persona). But Crawford wasn't felled by sound. Her first talkie, Untamed (1929), was a success. As the 1930s progressed, Crawford became one of the biggest stars at MGM. She was in top form in films such as Grand Hotel (1932), Sadie McKee (1934), No More Ladies (1935), and Love on the Run (1936); movie patrons were enthralled, and studio executives were satisfied.
By the early 1940s, MGM was no longer giving her plum roles; newcomers had arrived in Hollywood, and the public wanted to see them. Crawford left MGM for rival Warner Bros., and in 1945 she landed the role of a lifetime. Mildred Pierce (1945) gave her an opportunity to show her range as an actress, and her performance as a woman driven to give her daughter everything garnered Crawford her first, and only, Oscar for Best Actress. The following year she appeared with John Garfield in the well-received Humoresque (1946). In 1947, she appeared as Louise Graham in Possessed (1947); again she was nominated for a Best Actress from the Academy, but she lost to Loretta Young in The Farmer's Daughter (1947). Crawford continued to choose her roles carefully, and in 1952 she was nominated for a third time, for her depiction of Myra Hudson in Sudden Fear (1952). This time the coveted Oscar went to Shirley Booth, for Come Back, Little Sheba (1952). Crawford's career slowed after that; she appeared in minor roles until 1962, when she and Bette Davis co-starred in What Ever Happened to Baby Jane? (1962). Their longstanding rivalry may have helped fuel their phenomenally vitriolic and well-received performances. (Earlier in their careers, Davis said of Crawford, "She's slept with every male star at MGM except Lassie", and Crawford said of Davis, "I don't hate [her] even though the press wants me to. I resent her. I don't see how she built a career out of a set of mannerisms instead of real acting ability. Take away the pop eyes, the cigarette, and those funny clipped words, and what have you got? She's phony, but I guess the public really likes that.")
Crawford's final appearance on the silver screen was in the flop Trog (1970). Turning to vodka more and more, she was hardly seen afterward. On May 10, 1977, Joan died of a heart attack in New York City. She was 71 years old. She had disinherited her adopted daughter Christina and son Christopher; the former wrote a tell-all book called "Mommie Dearest", The Sixth Sense published in 1978. The book cast Crawford in a negative light and was cause for much debate, particularly among her friends and acquaintances, including Douglas Fairbanks Jr., Crawford's first husband. (In 1981, Faye Dunaway starred in Mommie Dearest (1981) which did well at the box office.) Crawford is interred in the same mausoleum as fellow MGM star Judy Garland, in Ferncliff Cemetery in Hartsdale, New York.753 points- Actress
- Soundtrack
Eve Arden was born Eunice Mary Quedens in Mill Valley, California (near San Francisco), and was interested in show business from an early age. At 16, she made her stage debut after quitting school to join a stock company. After appearing in minor roles in two films under her real name, Eunice Quedens, she found that the stage offered her the same minor roles. By the mid 30s, one of these minor roles would attract notice as a comedy sketch in the stage play "Ziegfeld Follies".
By that time, she had changed her name to Eve Arden, which she adopted while looking over some cosmetics and spotting the names "Evening in Paris" and "Elizabeth Arden". In 1937, she garnered some attention with a small role in Oh, Doctor (1937), which led to her being cast in a minor role in the film Stage Door (1937). By the time the film was finished, her part had expanded into the wise-cracking, fast-talking friend to the lead. She would play virtually the character for most of her career.
While her sophisticated wise-cracking would never make her the lead, she would be a busy actress in dozens of movies over the next dozen years. In At the Circus (1939), she was the acrobatic Peerless Pauline opposite Groucho Marx and the Russian sharp shooter in the comedy The Doughgirls (1944). For her role as Ida in Mildred Pierce (1945), she received an Academy Award nomination. Famous for her quick ripostes, this led to work in Radio during the 1940s. In 1948, CBS Radio premiered "Our Miss Brooks", which would be the perfect show for her character. As her film career began to slow, CBS would take the popular radio show to television in 1952. The television series Our Miss Brooks (1952) would run through 1956 and led to the movie Our Miss Brooks (1956).
When the show ended, Arden tried another television series, The Eve Arden Show (1957), but it was soon canceled. In the 1960s, Arden raised a family and did a few guest roles, until her come-back television series The Mothers-In-Law (1967). This show, co-starring Kaye Ballard ran for two seasons. After that, she would make more unsold pilots, a couple of television movies and a few guest shots. She returned in occasional cameo appearances including as Principal McGee in Grease (1978), and Warden June in Pandemonium (1982).753 points- Actress
- Soundtrack
The dark, petulant beauty of this petite American film and musical star worked to her advantage, especially in her early dramatic career. Anne Marie Blythe was born of Irish stock to Harry and Annie (nee Lynch) Blythe on August 16, 1928 in Mt. Kisco, New York. Her parents split while she was young and she, her mother and elder sister, Dorothy, moved to New York City, where the girls attended various Catholic schools. Already determined at an early age to perform, Ann attended Manhattan's Professional Children's School and was already a seasoned radio performer, particularly on soap dramas, while in elementary school. A member of New York's Children's Opera Company, the young girl made an important Broadway debut in 1941 at age 13 as the daughter of the characters played by Paul Lukas and Mady Christians in the classic Lillian Hellman WWII drama "Watch on the Rhine", billed as Anne (with an extra "e") Blyth. She stayed with the show for two years.
While touring with the play in Los Angeles, the teenager was noticed by director Henry Koster at Universal and given a screen test. Signed on at age 16 as Ann (without the "e") Blyth, the pretty, photographic colleen displayed her warbling talent in her debut film, Chip Off the Old Block (1944), a swing-era teen musical starring Universal song-and-dance favorites Donald O'Connor and Peggy Ryan. She followed it pleasantly enough with other "B" tune-fests such as The Merry Monahans (1944) and Babes on Swing Street (1944). It wasn't until Warner Bros. borrowed her to make self-sacrificing mother Joan Crawford's life pure hell as the malicious, spiteful daughter Veda in the film classic Mildred Pierce (1945) that she really clicked with viewers and set up her dramatic career. With murder on her young character's mind, Hollywood stood up and took notice of this fresh-faced talent.
Although Blyth lost the Best Supporting Actress Oscar that year to another Anne (Anne Revere), she was borrowed again by Warner Bros. to film Danger Signal (1945). During filming, she suffered a broken back in a sledding accident while briefly vacationing in Lake Arrowhead and had to be replaced in the role. After a long convalescence (over a year and a half in a back brace) Universal used her in a wheelchair-bound cameo in Brute Force (1947).
Her first starring role was an inauspicious one opposite Sonny Tufts in Swell Guy (1946), but she finally began gaining some momentum again. Instead of offering her musical gifts, she continued her serious streak with Killer McCoy (1947) and a dangerously calculated role in Another Part of the Forest (1948), a prequel to The Little Foxes (1941) in which Blyth played the Bette Davis role of Regina at a younger age. Her attempts at lighter comedy were mild at best, playing a fetching creature of the sea opposite William Powell in Mr. Peabody and the Mermaid (1948) and a teen infatuated with a much-older film star, Robert Montgomery, in Once More, My Darling (1949).
At full-throttle as a star in the early 1950s, Blyth transitioned easily among glossy operettas, wide-eyed comedies and all-out melodramas, some of which tended to be overbaked and, thereby, overplayed. When not dishing out the high dramatics of an adopted girl searching for her birth mother in Our Very Own (1950) or a wrongly-convicted murderess in Thunder on the Hill (1951), she was introducing classic standards as wife to Mario Lanza in The Great Caruso (1951) or playing pert and perky in such light confections as Katie Did It (1950). A well-embraced romantic leading lady, she made her last film for Universal playing a Russian countess courted by Gregory Peck in The World in His Arms (1952). MGM eventually optioned her for its musical outings, having borrowed her a couple of times previously. She became a chief operatic rival to Kathryn Grayson at the studio during that time. Grayson, however, fared much better than Blyth, who was given rather stilted vehicles.
Catching Howard Keel's roving eye while costumed to the nines in the underwhelming Rose Marie (1954) and his daughter in Kismet (1955), she also gussied up other stiff proceedings like The Student Prince (1954) and The King's Thief (1955) will attest. Unfortunately, Blyth came to MGM at the tail end of the Golden Age of musicals and probably suffered for it. She was dropped by the studio in 1956. She reunited with old Universal co-star Donald O'Connor in The Buster Keaton Story (1957). Blyth ended her film career on a high note, however, playing the tragic title role in the The Helen Morgan Story (1957) opposite a gorgeously smirking Paul Newman. She had a field day as the piano-sitting, kerchief-holding, liquor-swilling torch singer whose train wreck of a personal life was destined for celluloid. Disappointing for her personally, no doubt, was that her singing voice had to be dubbed (albeit superbly) by the highly emotive, non-operatic songstress Gogi Grant.
Through with films, Blyth's main concentration (after her family) were musical theatre and television. Over the years a number of classic songs were tailored to suit her glorious lyric soprano both in concert form and on the civic light opera/summer stock stages. "The Sound of Music", "The King and I", "Carnival", "Bittersweet", "South Pacific", "Show Boat" and "A Little Night Music" are but a few of her stage credits. During this time Blyth appeared as the typical American housewife for Hostess in its Twinkie, cupcake and fruit pie commercials, a job that lasted well over a decade. She made the last of her sporadic TV guest appearances on Quincy M.E. (1976) and Murder, She Wrote (1984) in the mid-1980s.
Married since 1953 to Dr. James McNulty, the brother of late Irish tenor Dennis Day, she is the mother of five, Blyth continues to be seen occasionally at social functions and conventions.753 points- A respected stage actress, brunette Edith Atwater was another of those performers who never quite managed to break into films. She was trained at the American Laboratory Theatre and began her acting career at the age of eighteen. She was on Broadway from 1931, her carefully coiffed patrician looks and mature manner rather suited to playing well-bred socialites. Her first lead was in a forgotten comedy, "Springtime for Henry" (which has the singular distinction of having its title co-opted by Mel Brooks for The Producers (1967) as "Springtime for Hitler"). However, better parts were in store: leads in hit plays like "The Country Wife" (1936), "Susan and God" (1937), "State of the Union" (1945), and, her best role yet, as Maggie Cutler opposite Monty Woolley in "The Man Who Came to Dinner" (1939). Bette Davis eventually got to star in the classic film version, whereas Edith had a just few inconsequential movie bits to show for in the 30's.
She didn't make an impact on screen until her role as Henry Daniell's housekeeper Meg Cameron in Val Lewton's brilliant horror thriller The Body Snatcher (1945). Nothing of substance followed until much later, when she popped up as an indomitable, over-protective socialite mother in William Castle's lurid psycho-thriller Strait-Jacket (1964). For the most part, however, Edith was typecast in maternal roles, or as nurses or secretaries which she always played believably. More often than not, we'd see her on the small screen, often in recurring roles as in the "Barefoot in the Park" lookalike Love on a Rooftop (1966), Grace Morton in Peyton Place (1964), or as Aunt Gertrude in The Hardy Boys/Nancy Drew Mysteries (1977).
Edith was married to actors Hugh Marlowe and Kent Smith who both predeceased her.750 points - Actress
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Elegant, dark-haired Parisian Micheline Presle (billed in the U.S. as Micheline Prelle) was the daughter of a businessman whose surname was Chassagne. Taking acting classes as a teen, she was discovered by Georg Wilhelm Pabst and cast in Jeunes filles en détresse (1939) (portraying Jacqueline Presle, whose last name she chose as her own marquee name). Very early into her film career, she was awarded the Prix Suzanne Bianchetti as the "most promising young actress" in French cinema.
While Micheline proceeded to make movies during the Occupation with such offerings as Four Flights to Love (1939) (dual role), La comédie du bonheur (1940), Foolish Husbands (1941), La nuit fantastique (1942), Twilight (1944), and Paris Frills (1945), she was regarded as an important young French star in the post-war years when she appeared in the classic films Angel and Sinner (1945) and, in particular, Devil in the Flesh (1947), both gaining her world-wide notice.
After a brief post-war marriage to Michel Lefort, Micheline's second marriage to US actor-turned-producer William Marshall in 1949 led her to attempt Hollywood pictures. Receiving a 20th Century-Fox contract, none of the those pictures, which included Under My Skin (1950), American Guerrilla in the Philippines (1950) and Adventures of Captain Fabian (1951), the last one produced and directed by husband Marshall, captured the hearts of American audiences despite co-starring opposite Hollywood's top male superstars stars at the time -- John Garfield, Tyrone Power and Errol Flynn.
Divorced in 1954, Micheline never truly adjusted to the Hollywood way of life and returned quite willingly to Paris with her daughter, the future actress/director Tonie Marshall. She would, however, return briefly to the US in the early 1960s to appear in the Dee/Darin comedy fluff If a Man Answers (1962) and the spy drama The Prize (1963).
The supremely talented Micheline continued to reign supreme back in Europe and appeared frequently on the stage as well. Some of her post-Hollywood films (mid-1950's on) included House of Ricordi (1954), Royal Affairs in Versailles (1954) (as Madame de Pompadour), Her Bridal Night (1956), Demoniac (1957), Mistress of the World (1960), Imperial Venus (1962) (as Napoleon's Josephine), Dark Purpose (1964), The Nun (1966), King of Hearts (1966), Donkey Skin (1970), The Legend of Frenchie King (1971), A Slightly Pregnant Man (1973), A Young Emmanuelle (1976), Démons de midi (1979), Thieves After Dark (1983), Good Weather, But Stormy Late This Afternoon (1986), High Finance Woman (1990), Fanfan (1993), Les Misérables (1995) and Diary of a Seducer (1996).
Into the millennium, Micheline graced a large number of French films such as Le coeur à l'ouvrage (2000), Charmant garçon (2001), Le diable dans la boîte (1977), Transfixed (2001), France Boutique (2003) (directed by daughter Tonie), Grabuge! (2005), Plein sud (2009), Just Like Brothers (2012) and her last, an unbilled part in Sex, Love & Therapy (2014).
Nominated for a supporting actress Cesar Award for her role as in the Venice Film Festival winner I Want to Go Home (1989), Micheline received an honorary César Award in 2004.749 points- Actress
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Statuesque, smart Canadian-born Alexis Smith, with her blue/green eyes and a seductively husky voice, lent a touch of class to her leading ladies of the 1940s and 1950s.
After her family moved to California, Alexis grew into a precocious talent and performed ballet in public by the age of thirteen -- dancing to 'Carmen' at the Hollywood Bowl. She later graduated with a degree in drama from Los Angeles City College having previously won an acting contest whilst still in high school. During a performance of a play on campus she was spotted by a Warner Brothers talent scout and signed to a contract in 1941. Until the early 1950s she was paired with the top male stars in Hollywood, including Clark Gable, Humphrey Bogart, William Holden and Bing Crosby. While often simply decorative (as, for example, in Of Human Bondage (1946) and Stallion Road (1947)), stylishly attired by costume designers like Milo Anderson and Helen Rose in the most glamorous gowns, Alexis also proved to be a capable and spirited actress in spite of relatively few opportunities to break out of the mold of "the other woman".
Early on in her screen career the studio's publicity department touted Alexis -- much to her chagrin -- as the "Dynamite Girl". While she claimed in later years to have typecast herself (saying that few of her assigned roles ever challenged her on any level) Alexis nonetheless enjoyed good critical reviews for many of her performances. She was also popular with directors and film crews who appreciated her relaxed, professional manner on the set. Commencing her Hollywood tenure, she was cast in two films with Errol Flynn (she would make a total of four films with him): Dive Bomber (1941) and the boxing drama Gentleman Jim (1942). Though decidedly second fiddle to both the action and the charismatic Flynn, Alexis made a good first impression as the fetching romantic interest. Her next performance, in The Constant Nymph (1943) opposite Charles Boyer, was described by a reviewer as an "intelligent rendition". Her biggest hit of the mid-1940s was as Cole Porter's wife in the inaccurate--but hugely successful--biopic Night and Day (1946). She also appeared in two "noir" films with Humphrey Bogart at his most menacing: the interesting and underrated Conflict (1945) and the excellent The Two Mrs. Carrolls (1947). As Clark Gable's wife in the gambling drama Any Number Can Play (1949) she was critically lauded as "genuinely appealing". In between, there were also some conspicuous failures, in particular her rather stolid performance in the period drama The Woman in White (1948). She had little to do in Here Comes the Groom (1951) and The Turning Point (1952) and her best part in the 1950s, though small, was that of Carol Wharton in The Young Philadelphians (1959).
During the 1960s, Alexis took a sabbatical from the screen to appear on stage with her husband, actor Craig Stevens (her marriage, a rare Hollywood success, lasted 49 years) in "Critic's Choice", "Cactus Flower" and "Mary, Mary". She reserved her best acting for the stage, becoming the Tony Award-winning star of Stephen Sondheim's musical "Follies" in which she played Phyllis during the 1971 run on Broadway (which landed her on the cover of the May 3 issue of 'Time' Magazine) and at the Shubert Theatre in Los Angeles in 1972. In 1973, she played Sylvia Fowler in a revival of Clare Boothe Luce's "The Women" and was nominated for another Tony for her leading role of Lila Halliday in "Platinum" in 1979.
Alexis was seen infrequently on television from the mid-'50s, sometimes appearing on the same show opposite her husband. She had a recurring role as the homicidal Lady Jessica Montfort in Dallas (1978) during the 1984 and 1990 seasons and was nominated for an Emmy for a guest-starring role on Cheers (1982). It was fitting, or perhaps ironic, that her last film role in The Age of Innocence (1993) was as a New York socialite, the kind of stereotypical persona she had portrayed so often in her heyday at Warners.740 points- Born Mary Whitty on June 19, 1865, to a Liverpool newspaper editor and his wife, she became known as May Whitty to the world. She first stepped onto the London stage in 1882 at which she worked as an understudy at the St. James Theatre and then began playing leading roles when she joined a traveling stock company. After nearly 25 years as one of Britain's leading stage actresses, she appeared in her first film, Enoch Arden (1914), in Great Britain. She did not care much for the experience and appeared in only a few silent films afterward.
In 1918, based on her service to the arts and for performing for the troops during World War I, she was named as a Dame Commander of the Order of the British Empire by King George V.
After a string of 1930s Broadway successes, she went to Hollywood, following the example of many of her British contemporaries. She found herself usually cast in highborn roles, sometimes crotchety, sometimes imperious, however often warmhearted. Classic examples of these were the crotchety Mrs. Bramson, an invalid who falls for the homicidal Robert Montgomery, in Night Must Fall (1937); Miss Froy\ in The Lady Vanishes (1938), wherein she plays the title character, enduring great physical exertion while maintaining her poise and dignity; and Lady Beldon in Mrs. Miniver (1942), a role which garnered her an Oscar nomination for best supporting actress. She proved herself equally capable of playing working-class roles, such as the dowdy phony psychic in The Thirteenth Chair (1937). Besides two Oscar nominations, she also won the National Board of Review best acting award for the 1937 film Night Must Fall (1937).
In 1892, she married London producer Ben Webster. They were the parents of a daughter, Margaret Webster, who became a playwright and actress in her own right. Margaret penned her mother's biography, The Same Only Different, published in 1969.
Whitty died at the age of 82 as the result of cancer in Beverly Hills shortly after completing her scenes in the film The Sign of the Ram (1948).
She once said, "I've got everything Betty Grable has ... only I've had it longer."738 points - Frances Gifford had a somewhat unorthodox introduction to the movie business. Born and raised in Long Beach, California, she had no ambition to be an actress, and in fact had applied to UCLA when, at age 16, she and a friend got to visit the Samuel Goldwyn Studios, where they watched a movie being shot. A studio exec saw her and asked if she would take a screen test. She did, the studio was impressed with the result and put her under contract. Nothing much came of it, however, other than bit parts, and she moved to RKO. Nothing much happened there, either. She had married actor James Dunn and decided to retire, which she did, in 1938. Off the screen for almost two years, she got a small part in Mr. Smith Goes to Washington (1939), and her career began to revive. She was signed by Paramount, which soon loaned her to Republic, where she made the film she is probably most remembered for: the serial Jungle Girl (1941), based on an Edgar Rice Burroughs story.
Unfortunately, her career never really took off, and she bounced around among several studios. In 1948 she was involved in an auto accident in which she received severe head injuries. Although she seemed to recover physically, her career took a nosedive, and she made her last film in 1953. In 1958 newspaper stories reported that as a result of the injuries sustained in the accident, she was admitted to a California state mental hospital. Nothing further was heard from her or about her until 1983, when a writer for a film magazine found her in Pasadena. She had apparently fully overcome her physical and mental problems and was working for the city library. She died of emphysema in Pasadena in 1994.738 points - Actress
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For one tough cookie who achieved major cult stardom with her hard-bitten blonde looks and "Perfect Vixen" tag, Ann Savage in real life was a lovely, spirited, gentle-looking lady. She may have peaked only briefly in 1940s Hollywood low-budgeters, but she made the most of it during that fairly short tenure. Out of the dozens of movies under her belt, one film part shot her to femme fatale infamy and, to this day, remains her biggest claim to fame. It took only four (some accounts say six) days to shoot, but Detour (1945) stands out as one of the best examples of surreal film noir, and the unforgettable dialogue and riveting teaming of Ann and sulky co-star Tom Neal are the primary reasons for its enduring fame.
An only child, Ann was born Bernice Maxine Lyon in Columbia, South Carolina, on February 19, 1921. Her father was a US Army officer and the family traveled with him to his various duty stations, including Dallas and New Orleans, until settling in Jacksonville, Florida. He died when she was only four years old. Ann's mother, a jewelry buyer, took the two of them to Los Angeles before Ann was 10 years old. Appearing in local theater productions, the young girl trained at Max Reinhardt's acting school. The school's manager happened to be Bert D'Armand, who later became her agent. They married in 1945.
She changed her name to "Ann Savage" before even stepping onto a sound stage and it was a workshop production of "Golden Boy" that led to her initially signing up at Columbia Pictures. The first glimpse of Ann came as an extra in MGM's The Great Waltz (1938) and she gradually earned on-camera experience in unbilled parts in such war-era movies as The More the Merrier (1943) and Murder in Times Square (1943). She rose to featured and co-star status in such lightweight Columbia films as Two Señoritas from Chicago (1943), Footlight Glamour (1943) and Saddles and Sagebrush (1943).
Although Ann played devilish dames in The Unwritten Code (1944), Apology for Murder (1945) and The Last Crooked Mile (1946), it was venomous Vera, the blackmailing, tough-talking, cigarette-dangling, good-for-nothing who bullies hapless wanna-be tough-guy musician (Tom Neal) into her schemes in Detour (1945) that truly summed up her "bad girl" charisma. At the inducement of Columbia Pictures honcho Harry Cohn, Savage and Neal made four films together (the last being "Detour"). The other three were Klondike Kate (1943), Two-Man Submarine (1944) and The Unwritten Code (1944) (the two would reunite years later in a 1955 TV episode of the series Gang Busters (1952)).
Ann was one of the more popular WWII pinups. After appearing in a photo layout in "Esquire" magazine in 1944 that was shot by renowned studio photographer George Hurrell Sr., she became a favorite with the troops, making numerous personal appearance tours at various military bases in order to raise war bonds. Freelancing after leaving Columbia, Ann appeared in a host of other second-string pictures, including You Can't Do Without Love (1944), The Spider (1945), The Dark Horse (1946), Renegade Girl (1946), Jungle Flight (1947), Satan's Cradle (1949), Pygmy Island (1950) and Woman They Almost Lynched (1953), which would be her last film for over three decades. While she certainly demonstrated talent and range, she was unable to rise out of the "B" mold. This led her to look at TV for a time in the 1950s as a possible medium, guesting on such shows as The Ford Television Theatre (1952), City Detective (1953), Schlitz Playhouse (1951), Death Valley Days (1952) and Fireside Theatre (1949).
Ann semi-retired in the late 1950s and moved from Hollywood to Manhattan with husband Bert, who by now had traded his agent business for the financing and professional trading world. She occasionally appeared on local TV and in industrial films. The couple traveled extensively until his sudden death in 1969. A grief-stricken Ann returned to Hollywood to be near her mother, sharpened her legal secretarial skills by working as a docket clerk with Bert's attorneys in Los Angeles (Loeb & Loeb) and became an avid speed-rated pilot in her spare hours.
Elsewhere the veteran actress continued to delight her fans with her appearances at "film noir" festivals, nostalgia conventions and special screenings of her work. Refusing to appear in exploitative material, Ann turned down much work. In later years she appeared very sporadically--in the movie Fire with Fire (1986) and an episode of Saved by the Bell (1989). Out of nowhere the resilient octogenarian was cast by Canadian director Guy Maddin, a film noir fan, to play a shrewish mother in the highly acclaimed My Winnipeg (2007), earning "bad girl" raves all over again.
Named an "icon and legend" by the Academy of Motion Picture Arts and Sciences in 2005, Ann was applauded for her body of work by "Time" Magazine twice in 2007. She died at a Hollywood nursing home at age 87 on Christmas Day in 2008 from complications of multiple strokes.730 points- Actress
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Claudia Drake was born on 30 January 1918 in Los Angeles, California, USA. She was an actress, known for Detour (1945), Enemy of Women (1944) and The Face of Marble (1946). She died on 19 October 1997 in Los Angeles, California, USA.730 points- Actress
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Deborah Jane Trimmer was born on 30 September 1921 in Glasgow, Scotland, the daughter of Captain Arthur Kerr Trimmer. She was educated at Northumberland House, Clifton, Bristol. She first performed at the Open Air Theatre in Regent's Park, London. She subsequently performed with the Oxford Repertory Company 1939-40. Her first appearance on the West End stage was as Ellie Dunn in "Heartbreak House" at the Cambridge Theatre in 1943. She performed in France, Belgium and Holland with ENSA (Entertainments National Service Association, or Every Night Something Awful) - The British Army entertainment service. She has appeared in many films from her first appearance in Major Barbara (1941).728 points- Actress
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Glynis Johns was the daughter of actor Mervyn Johns. Best known for her light comedy roles and often playful flirtation, Glynis was born in South Africa while her parents were on tour there (her mother was a concert pianist) but was always proud of her Welsh roots and took delight in playing the female lead (opposite Richard Burton) in the classic Under Milk Wood (1971). She was probably best known for her role as the suffragette mother in Mary Poppins (1964) although she is probably best loved for her fishy roles in Miranda (1948) and Mad About Men (1954). She had earlier showed she could take on the serious roles as well as in Frieda (1947). Most recently seen (at the time of writing) in Superstar (1999). Johns died in 2024, aged 100, having never received the damehood she had richly deserved for decades. Predeceased by her only son, she was survived by a grandson,Thomas Forwood, and three great-grandchildren.728 points- Actress
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Born Joan de Beauvoir de Havilland on October 22, 1917, in Tokyo, Japan, in what was known as the International Settlement, to British parents, Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her paternal grandfather's family was from Guernsey in the Channel Islands. Her father had a lucrative practice in Japan, but due to Joan and older sister Olivia de Havilland's recurring ailments the family moved to California in the hopes of improving their health. Mrs. de Havilland and the two girls settled in Saratoga while their father went back to his practice in Japan. Joan's parents did not get along well and divorced soon afterward. Mrs. de Havilland had a desire to be an actress but her dreams were curtailed when she married, but now she hoped to pass on her dream to Olivia and Joan. While Olivia pursued a stage career, Joan went back to Tokyo, where she attended the American School. In 1934 she came back to California, where her sister was already making a name for herself on the stage. Joan likewise joined a theater group in San Jose and then Los Angeles to try her luck there. After moving to L.A., Joan adopted the name of Joan Burfield because she didn't want to infringe upon Olivia, who was using the family surname.
She tested at MGM and gained a small role in No More Ladies (1935), but she was scarcely noticed and Joan was idle for a year and a half. During this time she roomed with Olivia, who was having much more success in films. In 1937, this time calling herself Joan Fontaine, she landed a better role as Trudy Olson in You Can't Beat Love (1937) and then an uncredited part in Quality Street (1937). Although the next two years saw her in better roles, she still yearned for something better. In 1940 she garnered her first Academy Award nomination for Rebecca (1940). Although she thought she should have won, (she lost out to Ginger Rogers in Kitty Foyle (1940)), she was now an established member of the Hollywood set. She would again be Oscar-nominated for her role as Lina McLaidlaw Aysgarth in Suspicion (1941), and this time she won. Joan was making one film a year but choosing her roles well. In 1942 she starred in the well-received This Above All (1942).
The following year she appeared in The Constant Nymph (1943). Once again she was nominated for the Oscar, she lost out to Jennifer Jones in The Song of Bernadette (1943). By now it was safe to say she was more famous than her older sister and more fine films followed. In 1948, she accepted second billing to Bing Crosby in The Emperor Waltz (1948). Joan took the year of 1949 off before coming back in 1950 with September Affair (1950) and Born to Be Bad (1950). In 1951 she starred in Paramount's Darling, How Could You! (1951), which turned out badly for both her and the studio and more weak productions followed.
Absent from the big screen for a while, she took parts in television and dinner theaters. She also starred in many well-produced Broadway plays such as Forty Carats and The Lion in Winter. Her last appearance on the big screen was The Witches (1966) and her final appearance before the cameras was Good King Wenceslas (1994). She is, without a doubt, a lasting movie icon.726 points- Wendy Hiller, daughter of Frank and Marie Hiller, was born on 15th August 1912 in Bramhall, near Stockport, Cheshire, England. She was educated at Winceby House School, Bexhill then moved on to Manchester Repertory Theatre. She appeared on stage in Sir John Barry's tour of Evensong, then as Sally Hardcastle in Love on the Dole. She toured extensively, playing in London and New York. She took leading parts in Pygmalion and Saint Joan at the Malvern Festival in 1936.722 points
- Pamela Brown trained at the Royal Academy of Dramatic Art (RADA). Her first appearance was as "Juliet" in "Romeo and Juliet" at Stratford-on-Avon in 1936. She followed this with a variety of roles for the Old Vic Company in London. She appeared on Broadway in the 1947 production of "The Importance of Being Earnest" by Oscar Wilde. Her screen debut was in One of Our Aircraft Is Missing (1942) for Michael Powell and Emeric Pressburger. She went on to star in two more of Powell's films and they lived together until her unfortunately early death from cancer. Her memorable face with eyes you can drown in & a resonant voice always made Pamela an actress worth watching. She was often cast as an eccentric or mysterious character which suited her perfectly.722 points
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Eleanor Jean Parker was born on June 26, 1922, in Cedarville, Ohio, the last of three children born to a mathematics teacher and his wife. Eleanor caught the acting bug early and began performing in school plays. She was was so serious about becoming an actor, that she attended the Rice Summer Theatre on Martha's Vineyard in Massachusetts, beginning when she was 15 years old. She was offered her first screen test by a 20th Century-Fox talent scout while attending Rice, but turned the opportunity down to gain professional stage experience in Cleveland after graduating from high school.
She moved on to California to continue her acting studies at the Pasadena Playhouse. It was there, while sitting in the audience of a play being put on at the Playhouse, that she was again offered a screen test - this time from a Warner Brothers' scout - and again declined, wanting to finish her first year at the Playhouse. When the year was up, Eleanor contacted Warner Brothers to take them up on their offer of a screen test and was signed as a contract player two days after it was shot.
She was cast in Raoul Walsh's They Died with Their Boots On (1941), but her performance was left on the cutting room floor.
She was then cast in short subjects and given other assignments typical of novice film actors, to enable them to learn their craft, such as voice-acting and appearances in other actors' screen tests. Finally, she was promoted to the B-picture unit, making her feature debut in Busses Roar (1942).
Her beauty meant she was not forgotten, and she was cast in one of Warner Brothers' biggest productions for the 1943 season, the pro-Soviet Mission to Moscow (1943), directed by Michael Curtiz and starring Walter Huston as the U.S. ambassador to the USSR. Eleanor played his daughter in the film, which became notorious in the McCarthy era for its glorification of "Uncle Joe" Stalin. The film proved significant to Eleanor, as she met a future husband on the set, Navy Lieutenant. Fred L. Losse, Navy dentist. The marriage was a brief wartime affair, lasting from March 21, 1943, to December 5, 1944.
She went back to the B's with The Mysterious Doctor (1943), then bounced back to the A-list for Between Two Worlds (1944), a remake of the Leslie Howard vehicle Outward Bound (1930) in which she played Paul Henreid's fiancee (both die from suicide, but in Hollywood logic that didn't mean they couldn't frolic together on the silver screen). Eleanor then made two more B-quickies in 1944, Crime by Night (1944) and The Last Ride (1944), before graduating to the A-list for good with Pride of the Marines (1945) with John Garfield.
In the 1946 Warner Bros. remake of Of Human Bondage (1946), she took the role that Bette Davis had made good in 1934 (ironically, at rival RKO). Though Parker would be gaining kudos and Oscar nominations by the beginning of the next decade, her portrait of Mildred was weak in comparison with Davis's dynamic performance.
Parker received the first of her three Best Actress Oscar nominations for playing a prisoner in Caged (1950), and won the best actress award at the Venice Film Festival. She was also nominated the next year for playing the cop's wife who shared a secret with the neighborhood abortionist in William Wyler's Detective Story (1951). Her third and last Oscar nod came for Interrupted Melody (1955), wherein she played an opera singer struck down by polio. She could easily have been nominated that same year for her portrayal of Frank Sinatra's faux crippled wife in Otto Preminger's brooding masterpiece The Man with the Golden Arm (1955), adapted from the novel by Nelson Algren.
Parker proved herself to be a supremely talented and very versatile lead actress. The versatility was likely one of the reasons she never quite became a major star. Audiences attending a movie starring Parker never knew quite what to expect of her; if they even remembered she was the same actress they had seen before in a different type of role in another picture. Her turns in Detective Story (1951) and The Man with the Golden Arm (1955) could not have been more different. Parker's stardom and subsequent fame (and remembrance) suffered from her focusing on being a serious actress and creating a character who fit the motion picture she was in, rather than playing a character over and over, as most actors do. She probably best remembered for the relatively tame part as the Baroness in The Sound of Music (1965).
She received an Outstanding Lead Actress Emmy nomination in 1963 for her appearance in The Eleventh Hour (1962) episode Why Am I Grown So Cold? Despite the success of The Sound of Music (1965) being completely attributed to #1 box office sensation Julie Andrews, it's probably Parker's best-remembered role.
Her appearances in such fare as The Oscar (1966) (the cast of which the Playboy Magazine reviewer derided as "has-beens and never-will-bes") and the movie adaptation of Norman Mailer's indescribable existential potboiler An American Dream (1966) with fellow Oscar-nominee Stuart Whitman signaled that Miss Parker was now inscribed on the list of the has-beens.
She had one last hurrah, winning a Golden Globe nomination in 1970 as best lead actress for her role in the TV series Bracken's World (1969), but unfortunately times had changed during the tumultuous 1960s. Her last film role was in a Farrah Fawcett bomb, Sunburn (1979). Subsequently, she appeared very infrequently on TV, most recently in Dead on the Money (1991).
Eleanor Parker retired far too soon for those who were her fans, and those who appreciated a superb actress.720 points- Actress
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Thespian Betty Field was born in Boston on February 8, 1916, the daughter of a salesman and his wife. Ancestors on her father's side were Mayflower colonists Priscilla and John Alden. Her parents divorced while she was still young and Betty eventually learned to speak Spanish while traveling with her mother to various Spanish-speaking countries during her childhood. Mother and daughter settled in Newton, Massachusetts, after the mother remarried. Betty's passion for the theatre was sparked during her early teens and by 1932 she was enrolled at the American Academy of Dramatic Art. She made her professional debut in a 1933 summer stock production of "The First Mrs. Fraser" and soon was cast in stage roles elsewhere. She even found work in a London theater production of "She Loves Me" in early 1934.
Rather plaintive in appearance with flat but highly distinctive tones, Betty's Broadway debut came about as an understudy in the comedy "Page Miss Glory" in November of 1934, courtesy of George Abbott, in which Betty also had a minor role. Therafter she performed frequently in the comedy mold, and in the service of Abbott, with such delightful plays as "Three Men on a Horse (1935), "Boy Meets Girl" (1936) "Room Service" (1937) and "The Primrose Path (1939), and earning fine reviews for the last two.
After seeing her performance on stage as Henry Aldrich's girlfriend Barbara in "What a Life" (1938), Paramount executives utilized her services when they transferred What a Life (1939) to film. The studio not only liked what they saw but signed her to a seven-year contract. Throughout the 1940s Betty appeared in a variety of leading ingénue and co-star roles. The important part of Mae, the farm girl, in John Steinbeck's classic Of Mice and Men (1939) starring Burgess Meredith and Lon Chaney was an early highlight, although it didn't provide her the necessary springboard for stardom. Part of the problem was that the rather reserved actress tended to shun the Hollywood scene (she still lived quietly with her mother).
While performing for Abbott again on Broadway in "Ring Two" (1939), Betty met the show's playwright Elmer Rice and the couple married in 1942. Their three children, John Alden, Judith and Paul, would appear on occasion with their mother on the summer stock stage. Betty also enhanced husband Rice's plays "Flight to the West" (1940) and "A New Life" (1943), which were designed especially for her.
Betty offered consistent, quality work even when the movies she appeared in met with less-than-stellar reviews. She was afforded the opportunity to work with some of Hollywood's finest leading men, including Fredric March in Victory (1940) and Tomorrow, the World! (1944), John Wayne in The Shepherd of the Hills (1941), Robert Cummings in Flesh and Fantasy (1943) and Joel McCrea in The Great Moment (1944). Tops on the list was her heart-tugging performance as the anguished daughter victimized by father Claude Rains in the classic soaper Kings Row (1942).
She purposely did not renew her Paramount contract at this point and, following another sterling performance in The Southerner (1945), took a long break from camera work. Back on Broadway, she appeared in such distinguished plays as "The Voice of the Turtle" and her husband's "Dream Girl" (Rice also directed) for career sustenance. She won the New York Drama Critics Circle award for the latter in 1946. Her Hedvig in Ibsen's "The Wild Duck" was also critically lauded.
An isolated return to Paramount to play what should have been a career highlight ended up a major disappointment,. While her Daisy Buchanan in F. Scott Fitzgerald's The Great Gatsby (1949) had mixed reviews (some felt she was miscast and not glamorous enough for the part), the movie itself (which was extensively trimmed) and her underwhelming co-star Alan Ladd were also cited as problems. Still a marquee value on Broadway, however, she displayed great range in such fare as "Twelfth Night", "The Rat Race", "Peter Pan" (taking over for Jean Arthur), "The Fourposter" (she and Burgess Meredith replaced Jessica Tandy and Hume Cronyn) and "Ladies of the Corridor"
Betty's soulful features took on a hardened, careworn veneer by the time she returned to Hollywood in the mid-1950's. Nevertheless, she had a "Field" day as a character player appearing in a number of drab, dressed-down roles. She lent credence to a number of fascinatingly flawed small-town moms and matrons in films, among them cream-of-the-crop hits Picnic (1955), starring Kim Novak, Bus Stop (1956) with Marilyn Monroe and Peyton Place (1957) headlining Lana Turner and Hope Lange. The stage plays "The Seagull", "Waltz of the Toreadors", "Touch of the Poet" and "Separate Tables" also accentuated this newly mature phase of her career.
TV took up a large percentage of Betty's time in the 1950s and 1960s with a number of showcase roles. She continued at a fairly steady pace but without much fanfare (as she preferred). Divorced from Rice in 1956, she married and split from lawyer and criminologist Edwin J. Lukas before settling down permanently with husband/artist Raymond Olivere in 1968. Betty's swan song in films was a small, featured part in Clint Eastwood's Coogan's Bluff (1968) as a floozie type, looking noticeably older than she was. Mixing in such stalwart, brittle roles on stage as Amanda in "The Glass Menagerie" and Birdie in "The Little Foxes", she made one of her last theater appearances in the difficult role of the mother in "The Effect of Gamma Rays on "Man-in-the-Moon Marigolds" in 1971.
Betty suffered a fatal cerebral hemorrhage in Hyannis, Massachusetts in 1973, just as she was about to leave and film The Day of the Locust (1975). Cast in the flashy role of "Big Sister", an evangelist, her part was taken over by Geraldine Page. At age 57, Hollywood lost a somewhat undervalued talent who enjoyed the work more than the stardom that often accompanied it.719 points- Actress
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Character actress Beulah Bondi was a favorite of directors and audiences and is one of the reasons so many films from the 1930s and 1940s remain so enjoyable, as she was an integral part of many of the ensemble casts (a hallmark of the studio system) of major and/or great films, including The Trail of the Lonesome Pine (1936), Mr. Smith Goes to Washington (1939), Our Town (1940) and Penny Serenade (1941). Highly respected as a first-tier character actress, Bondi won two Best Supporting Actress Oscar nominations, for The Gorgeous Hussy (1936) and Of Human Hearts (1938), and an Emmy Award in 1976 for her turn in the television program The Waltons (1972).
She was born Beulah Bondy on May 3, 1888, in Chicago, and established herself as a stage actress in the first phase of her career. She made her Broadway debut in Kenneth S. Webb's "One of the Family" at the 49th Street Theatre on December 21, 1925. The show was a modest hit, racking up 238 performances. She next appeared in another hit, Maxwell Anderson's "Saturday's Children," which ran for 326 performances, before appearing in her first flop, Clemence Dane's "Mariners" in 1927. Philip Barry's and Elmer Rice's "Cock Robin" was an extremely modest hit in 1928, reaching the century mark (100 performances), but it was Bondi's performance in Rice's "Street Scene," which opened at the Playhouse Theatre on Jamuary 10, 1929, that made her career. This famous play won Rice the 1929 Pulitzer Prize for Drama and was a big hit, playing for 601 performances. Most importantly, though, it brought Bondi to the movies at the advanced age of 43. She made her motion picture debut in 1931 in the movie adaptation (Street Scene (1931)), recreating the role she had originated on the Broadway stage. The talkies were still new, and she had the talent and the voice to thrive in Hollywood.
Bondi appeared in four more Broadway plays from 1931 to 1934, only one of which, "The Late Christopher Bean", a comedy by Sidney Howard, was a hit. Her last appearance on Broadway for a generation was in a flop staged by Melvyn Douglas, "Mother Lode" (she made two more appearances on the Great White Way, in "Hilda Crane" (1950) and "On Borrowed Time" in 1953; neither was a success). For the rest of her professional life, her career lay primarily in film and television.
She was typecast as mothers and, later, grandmothers, and played James Stewart's mother four times, most famously as "Ma Bailey" in It's a Wonderful Life (1946). Her greatest role is considered her turn in Leo McCarey's Depression-era melodrama Make Way for Tomorrow (1937), in which she played a mother abandoned by her children.
Beulah Bondi died on January 1, 1981, from complications from an accident, when she broke her ribs after falling over her cat. She was 92 years old.719 points- Tallulah Brockman Bankhead was born on January 31, 1902 in Huntsville, Alabama. Her father was a mover and shaker in the Democratic Party who served as Speaker of the United States House of Representatives from June 4, 1936, to September 16, 1940. Tallulah had been interested in acting and, at age 15, started her stage career in the local theater troupes of Huntsville and the surrounding areas. At age 16, she won a beauty contest and, bolstered by this achievement, moved to New York City to live with her aunt and to try her hand at Broadway. She was offered a role in Dr. Jekyll and Mr. Hyde (1920), but did not take it after she refused John Barrymore's invitation for a visit to the casting couch. Unfortunately, for the young Miss Bankhead, she did not make any headway on the stages of New York, so she pulled up stakes and moved to London, in 1923, to try her luck there.
For the next several years, she was the most popular actress of London's famed West End, the British equivalent of Broadway. After starring in several well-received plays, she gained the attention of Paramount Pictures executives and returned to the United States to try her hand at the film world. Her first two films, Woman's Law (1927) and His House in Order (1928), did not exactly set the world on fire, so she returned to do more stage work. She tried film work again with Tarnished Lady (1931), where she played Nancy Courtney, a woman who marries for money but ultimately gets bored with her husband and leaves him, only to come back to him when he is broke. The critics gave it a mixed reception. Tallulah's personality did not shine on film as Paramount executives had hoped. She tried again with My Sin (1931) as a woman with a secret past about to marry into money. Later that year, she made The Cheat (1931), playing Elsa Carlyle, a woman who sold herself to a wealthy Oriental merchant who brands her like she was his own property and is subsequently murdered. The next year, she shot Thunder Below (1932), Faithless (1932), Make Me a Star (1932) (she had a cameo role along with several other Paramount stars) and Devil and the Deep (1932). The latter film was a star-studded affair that made money at the box-office due to the cast (Gary Cooper, Charles Laughton and newcomer Cary Grant). The films she was making just did not do her talent any justice, so it was back to Broadway--she did not make another film for 11 years. She toured nationally, performing in all but three states.
She was also a big hit at social affairs, where she often shocked the staid members of that society with her "untraditional" behavior. She chain-smoked and enjoyed more than her share of Kentucky bourbon, and made it a "habit" to take her clothes off and chat in the nude. A friend and fellow actress remarked on one occasion, "Tallulah dear, why are you always taking your clothes off? You have such lovely frocks." She was also famous--or infamous--for throwing wild parties that would last for days. She returned to films in 1943 with a cameo in Stage Door Canteen (1943), but it was Lifeboat (1944) for director Alfred Hitchcock that put her back into the limelight. However, the limelight did not shine for long. After shooting A Royal Scandal (1945) she did not appear on film again until she landed a role in Die! Die! My Darling! (1965). Her film and small-screen work consisted of a few TV spots and the voice of the Sea Witch in the animated film The Daydreamer (1966), so she went back to the stage, which had always been first and foremost in her heart. To Tallulah, there was nothing like a live audience to perform for, because they, always, showed a lot of gratitude. On December 12, 1968, Tallulah Bankhead died at age 66 of pneumonia in her beloved New York City. While she made most of her fame on the stages of the world, the film industry and its history became richer because of her talent and her very colorful personality. Today her phrase, "Hello, Dahling" is known throughout the entertainment world.718 points - Actress
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Anne Baxter was born in Michigan City, Indiana, on May 7, 1923. She was the daughter of a salesman, Kenneth Stuart Baxter, and his wife, Catherine Dorothy (Wright), who herself was the daughter of Frank Lloyd Wright, the world-renowned architect. Anne was a young girl of 11 when her parents moved to New York City, which at that time was still the hub of the entertainment industry even though the film colony was moving west. The move there encouraged her to consider acting as a vocation. By the time she was 13 she had already appeared in a stage production of 'Seen but Not Heard'", and had garnered rave reviews from the tough Broadway critics. The play helped her gain entrance to an exclusive acting school.
In 1937, Anne made her first foray into Hollywood to test the waters there in the film industry. As she was thought to be too young for a film career, she packed her bags and returned to the New York stage with her mother, where she continued to act on Broadway and summer stock up and down the East Coast. Undaunted by the failure of her previous effort to crack Hollywood, Anne returned to California two years later to try again. This time her luck was somewhat better. She took a screen test which was ultimately seen by the moguls of Twentieth Century-Fox, and she was signed to a seven-year contract. However, before she could make a movie with Fox, Anne was loaned out to MGM to make 20 Mule Team (1940). At only 17 years of age, she was already in the kind of pictures that other starlets would have had to slave for years as an extra before landing a meaty role. Back at Fox, that same year, Anne played Mary Maxwell in The Great Profile (1940), which was a box-office dud. The following year she played Amy Spettigue in the remake of Charley's Aunt (1941). It still wasn't a great role, but it was better than a bit part. The only other film job Anne appeared in that year was in Swamp Water (1941). It was the first role that was really worth anything, but critics weren't that impressed with Anne, her role nor the movie. In 1942 Anne played Joseph Cotten's daughter, Lucy Morgan, in The Magnificent Ambersons (1942). The following year she appeared in The North Star (1943), the first film where she received top billing. The film was a critical and financial success and Anne came in for her share of critical plaudits. Guest in the House (1944) the next year was a dismal failure, but Sunday Dinner for a Soldier (1944) was received much better by the public, though it was ripped apart by the critics. Anne starred with John Hodiak, who would become her first husband in 1947 (Anne was to divorce Hodiak in 1954. Her other two husbands were Randolph Galt and David Klee).
In 1946 Anne portrayed Sophie MacDonald in The Razor's Edge (1946), a film that would land her an Academy Award for Best Supporting Actress. She had come a long way in so short a time, but for her next two films she was just the narrator: Mother Wore Tights (1947) and Blaze of Noon (1947). It would be 1950 before she landed another decent role--the part of Eve Harrington in All About Eve (1950). This film garnered Anne her second nomination, but she lost the Oscar to Judy Holliday for Born Yesterday (1950). After several films through the 1950s, Anne landed what many considered a plum role--Queen Nefretiri in Cecil B. DeMille's The Ten Commandments (1956). Never in her Hollywood career did Anne look as beautiful as she did as the Egyptian queen, opposite Charlton Heston and Yul Brynner. After that epic, job offers got fewer because she wasn't tied to a studio, instead opting to freelance her talents. After no appearances in 1958, she made one film in 1959 Season of Passion (1959) and one in 1960 Cimarron (1960).
After Walk on the Wild Side (1962), she took a hiatus from filming for the next four years. She was hardly idle, though. She appeared often on stage and on television. She wasn't particularly concerned with being a celebrity or a personality; she was more concerned with being just an actress and trying hard to produce the best performance she was capable of. After several notable TV appearances, Anne became a staple of two television series, East of Eden (1981) and Hotel (1983). Her final moment before the public eye was as Irene Adler in the TV film Sherlock Holmes and the Masks of Death (1984). On December 12, 1985, Anne died of a stroke in New York. She was 62.718 points- Actress
- Make-Up Department
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Ruth Elizabeth Davis was born April 5, 1908, in Lowell, Massachusetts, to Ruth Augusta (Favor) and Harlow Morrell Davis, a patent attorney. Her parents divorced when she was 10. She and her sister were raised by their mother. Her early interest was dance. To Bette, dancers led a glamorous life, but then she discovered the stage, and gave up dancing for acting. To her, it presented much more of a challenge.
After graduation from Cushing Academy, she was refused admittance to Eva Le Gallienne's Manhattan Civic Repertory. She enrolled in John Murray Anderson's Dramatic School and was the star pupil. She was in the off-Broadway play "The Earth Between" (1923), and her Broadway debut in 1929 was in "Broken Dishes". She also appeared in "Solid South". Late in 1930, she was hired by Universal, where she made her first film, called Bad Sister (1931). When she arrived in Hollywood, the studio representative who went to meet her train left without her because he could find no one who looked like a movie star. An official at Universal complained she had "as much sex appeal as Slim Summerville" and her performance in "Bad Sister" didn't impress.
In 1932, she signed a seven-year deal with Warner Brothers Pictures. Her first film with them was The Man Who Played God (1932). She became a star after this appearance, known as the actress that could play a variety of very strong and complex roles. More fairly successful movies followed, but it was the role of Mildred Rogers in RKO's Of Human Bondage (1934) that would give Bette major acclaim from the film critics. She had a significant number of write-in votes for the Best Actress Oscar, but didn't win. Warner Bros. felt their seven-year deal with Bette was more than justified. They had a genuine star on their hands. With this success under her belt, she began pushing for stronger and more meaningful roles. In 1935, she received her first Oscar for her role in Dangerous (1935) as Joyce Heath.
In 1936, she was suspended without pay for turning down a role that she deemed unworthy of her talent. She went to England, where she had planned to make movies, but was stopped by Warner Bros. because she was still under contract to them. They did not want her to work anywhere. Although she sued to get out of her contract, she lost. Still, they began to take her more seriously after that.
Returning after losing her lawsuit, her roles improved dramatically. In 1938, Bette received a second Academy Award win for her work in Jezebel (1938) opposite the soon-to-be-legendary Henry Fonda. The only role she didn't get that she wanted was Scarlett O'Hara in Gone with the Wind (1939). Warners wouldn't loan her to David O. Selznick unless he hired Errol Flynn to play Rhett Butler, which both Selznick and Davis thought was a terrible choice. It was rumored she had numerous affairs, among them George Brent and William Wyler, and she was married four times, three of which ended in divorce. She admitted her career always came first.
She made many successful films in the 1940s, but each picture was weaker than the last and by the time her Warner Brothers contract had ended in 1949, she had been reduced to appearing in such films as the unintentionally hilarious Beyond the Forest (1949). She made a huge comeback in 1950 when she replaced an ill Claudette Colbert in, and received an Oscar nomination for, All About Eve (1950). She worked in films through the 1950s, but her career eventually came to a standstill, and in 1961 she placed a now famous Job Wanted ad in the trade papers.
She received an Oscar nomination for her role as a demented former child star in What Ever Happened to Baby Jane? (1962). This brought about a new round of super-stardom for generations of fans who were not familiar with her work. Two years later, she starred in Hush...Hush, Sweet Charlotte (1964). Bette was married four times.
In 1977 she received the AFI's Lifetime Achievement Award and in 1979 she won a Best Actress Emmy for Strangers: The Story of a Mother and Daughter (1979). In 1977-78 she moved from Connecticut to Los Angeles and filmed a pilot for the series Hotel (1983), which she called Brothel. She refused to do the TV series and suffered a stroke during this time.
Her last marriage, to actor Gary Merrill, lasted ten years, longer than any of the previous three. In 1985, her daughter Barbara Davis ("B.D.") Hyman published a scandalous book about Bette called "My Mother's Keeper." Bette worked in the later 1980s in films and TV, even though a stroke had impaired her appearance and mobility. She wrote a book, "This 'N That", during her recovery from the stroke. Her last book was "Bette Davis, The Lonely Life", issued in paperback in 1990. It included an update from 1962 to 1989. She wrote the last chapter in San Sebastian, Spain.
Sadly, Bette Davis died on October 6, 1989, of metastasized breast cancer, in Neuilly-sur-Seine, Hauts-de-Seine, France. Many of her fans refused to believe she was gone.718 points- Actress
- Writer
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Coming from a musical family - her mother was a concert soprano - Constance Cummings made her show business debut in 1926 in regional stock theater, and by 1928 had appeared in her first Broadway play. Her success in the theater resulted in an invitation to Hollywood, where she went 1931. Although she played in more than 20 films, she was never really comfortble in Hollywood nor satisfied with the parts she was getting, and in 1934 she left for England, UK. She continued her stage and film career there. but few of those films ever made it back to the U.S.713 points- Delightful, sophisticated English actress, daughter of the distinguished thespian Sir Guy Standing. Kay trained at the Royal Academy of Dramatic Art in London and was taught elocution by Mrs. Patrick Campbell. She made her theatrical debut in "Tilly of Bloomsbury" in 1927. Within just a few years, she had established herself as a regular on the West End stage. In 1936, Kay made her first big splash as the flirtatious Diana Lake in Terence Rattigan's "French Without Tears" (1936) opposite Roland Culver. She then had several roles as leading lady in several minor British features, demonstrating a singular penchant for comedy. However, Kay decided early on to limit her screen appearances in order to further her theatrical career.
Her most celebrated role was that of Elvira Condomine in Noël Coward's supernatural comedy Blithe Spirit (1945), a part she originated in the 1941 stage version at London's Piccadilly Theatre to rave reviews. Kay was irresistibly alluring (even in ghostly make-up and green hair) and thoroughly likeable as the mischievous spirit of novelist Charles's (Rex Harrison's) deceased first wife, accidentally summoned during a seance by crusty medium Madame Arcati (Margaret Rutherford) and intent on wreaking havoc on her husband's second marriage.
There was precious little of Kay on screen after 'Blithe Spirit'. Following her marriage to the actor John Clements, she appeared for a while with the Chichester Festival Theatre, often partnering with her husband on stage. Their last joint performance was in "The Marriage Go-Round" in 1959 at the Piccadilly Theatre. Sadly, a deteriorating heart condition forced her premature retirement from acting and she spent the last few years of her life confined to a wheelchair.713 points - Actress
- Soundtrack
Rare is the reference to Margaret Rutherford that doesn't characterize her as either jut-chinned, eccentric, or both. The combination of those most mundane of attributes has led some to suggest that she was made for the role of Agatha Christie's indomitable sleuth, Jane Marple, whom Rutherford portrayed in four films between 1961 and 1964 plus in an uncredited film cameo in The Alphabet Murders (1965). Rutherford began her acting career first as a student at London's Old Vic, debuting on stage in 1925. In 1933, she first appeared in the West End at the not-so-tender age of 41. She had made her screen debut in 1936 portraying Miss Butterby in the Twickenham-Wardour production of Hideout in the Alps (1936).
In summer 1941, Noël Coward's Blithe Spirit opened on the London stage, with Coward himself directing. Appearing as Madame Arcati, the genuine psychic, was Rutherford, in a role in which Coward had earlier envisaged her and which he then especially shaped for her. She would carry her portrayal of Madame Arcati to the screen adaptation, David Lean's Blithe Spirit (1945). Not only would this become one of Rutherford's most memorable screen performances - with her bicycling about the Kentish countryside, cape fluttering behind her - but it would establish the model for portraying that pseudo-soothsayer forever thereafter. Despite Rutherford's appearances in more than 40 films, it is as Madame Arcati and Miss Jane Marple that she will best be remembered.713 points- Actress
- Writer
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Estelle Merle Thompson was born in India on February 19, 1911 of Welsh and Ceylonese (now Sri Lankan) descent. She was educated in that country until the age of 17, when she left for London. She began her career in British films with mostly forgettable roles or bit parts. She appeared in an uncredited role in Alf's Button (1930), a pattern that would unfortunately repeat itself regularly over the next three years.
However, movie moguls eventually saw an untapped talent in their midst and began grooming Oberon for something bigger. Finally she landed a part with substance: the role of Ysobel d'Aunay in Men of Tomorrow (1932). That was quickly followed by The Private Life of Henry VIII (1933). After her portrayal of Lady Marguerite Blakeney in The Scarlet Pimpernel (1934), Hollywood beckoned and she left to try her hand in US films. American movie executives already had some idea of her talent due to her role in Vagabond Violinist (1934) (US title: Vagabond Violinist) was a success in that country. With her nomination for an Academy Award for Best Actress as Kitty Vane in The Dark Angel (1935), Oberon became a star in both the UK and the USA.
Her work in that film resulted in offers for more quality pictures, and she appeared in several well received films, such as These Three (1936), Over the Moon (1939) and The Divorce of Lady X (1938). Her most critically acclaimed performance--hailed by some critics as "masterful" -- was as Cathy Linton in Wuthering Heights (1939). The 1940s proved to be a very busy decade for her, as she appeared in no less than 15 films. After her role in Berlin Express (1948) she would not be seen on the screen again until four years later, as Elizabeth Rockwell in Pardon My French (1951). She was off the screen again for more than a year, returning in Désirée (1954).
Unfortunately, Oberon began appearing in fewer and fewer films over the ensuing years. There were no films for her in 1955, only one in 1956 and then none until Of Love and Desire (1963). In between she did appear on television to host Assignment Foreign Legion (1956). Her final film was Interval (1973). After her career finally ended she lived in quiet retirement until her death of a massive stroke on November 23, 1979, in Malibu, California. Oberon was 68 and had kept her beauty to the end.712 points- Actress
- Soundtrack
With prominent cheekbones, luminous skin and the most crystalline green eyes of her day, Gene Tierney's striking good looks helped propel her to stardom. Her best known role is the enigmatic murder victim in Laura (1944). She was also Oscar-nominated for Leave Her to Heaven (1945). Her acting performances were few in the 1950s as she battled a troubled emotional life that included hospitalization and shock treatment for depression.
Gene Eliza Tierney was born on November 19, 1920 in Brooklyn, New York, to well-to-do parents, Belle Lavinia (Taylor) and Howard Sherwood Tierney. Her father was a successful insurance broker and her mother was a former teacher. Her childhood was lavish indeed. She also lived, at times, with her equally successful grandparents in Connecticut and New York. She was educated in the finest schools on the East Coast and at a finishing school in Switzerland.
After two years in Europe, Gene returned to the US where she completed her education. By 1938 she was performing on Broadway in What a Life! and understudied for the Primrose Path (1938) at the same time. Her wealthy father set up a corporation that was only to promote her theatrical pursuits. Her first role consisted of carrying a bucket of water across the stage, prompting one critic to announce that "Miss Tierney is, without a doubt, the most beautiful water carrier I have ever seen!" Her subsequent roles Mrs O'Brian Entertains (1939) and RingTwo (1939) were meatier and received praise from the tough New York critics. Critic Richard Watts wrote "I see no reason why Miss Tierney should not have a long and interesting theatrical career, that is if the cinema does not kidnap her away."
After being spotted by the legendary Darryl F. Zanuck during a stage performance of the hit show The Male Animal (1940), Gene was signed to a contract with 20th Century-Fox. Her first role as Barbara Hall in Hudson's Bay (1940) would be the send-off vehicle for her career. Later that year she appeared in The Return of Frank James (1940). The next year would prove to be a very busy one for Gene, as she appeared in The Shanghai Gesture (1941), Sundown (1941), Tobacco Road (1941) and Belle Starr (1941). She tried her hand at screwball comedy in Rings on Her Fingers (1942), which was a great success. Her performances in each of these productions were masterful. In 1945 she was nominated for a Best Actress Oscar for her portrayal of Ellen Brent in Leave Her to Heaven (1945). Though she didn't win, it solidified her position in Hollywood society. She followed up with another great performance as Isabel Bradley in the hit The Razor's Edge (1946).
In 1944, she played what is probably her best-known role (and, most critics agree, her most outstanding performance) in Otto Preminger's Laura (1944), in which she played murder victim named Laura Hunt. In 1947 Gene played Lucy Muir in the acclaimed The Ghost and Mrs. Muir (1947). By this time Gene was the hottest player around, and the 1950s saw no letup as she appeared in a number of good films, among them Night and the City (1950), The Mating Season (1951), Close to My Heart (1951), Plymouth Adventure (1952), Personal Affair (1953) and The Left Hand of God (1955). The latter was to be her last performance for seven years. The pressures of a failed marriage to Oleg Cassini, the birth of a daughter with learning disabilities in 1943, and several unhappy love affairs resulted in Gene being hospitalized for depression. When she returned to the the screen in Advise & Consent (1962), her acting was as good as ever but there was no longer a big demand for her services.
Her last feature film was The Pleasure Seekers (1964), and her final appearance in the film industry was in a TV miniseries, Scruples (1980). Gene died of emphysema in Houston, Texas, on November 6, 1991, just two weeks shy of her 71st birthday.708 points- Actress
- Soundtrack
Jeanne Crain was born in Barstow, California, on May 25, 1925. The daughter of a high school English teacher and his wife, Jeanne was moved to Los Angeles not long after her birth after her father got another teaching position in that city. While in junior high school, Jeanne played the lead in a school production which set her on the path to acting. When she was in high school Jeanne was asked to take a screen test to appear in a film by Orson Welles. Unfortunately, she didn't get the part, but it did set her sights on being a movie actress.
After high school, Jeanne enrolled at UCLA to study drama. At the age of 18, Jeanne won a bit part in Fox Studio's film entitled The Gang's All Here (1943) and a small contract. Her next film saw Jeanne elevated to a more substantial part in Home in Indiana (1944) the following year, which was filmed in neighboring Kentucky. The movie was an unquestionable hit. On the strength of that box-office success, Jeanne was given a raise and star billing, as Maggie Preston, in the next film of 1944, In the Meantime, Darling (1944). Unfortunately, the critics not only roasted the film, but singled out Jeanne's performance in particular. She rebounded nicely in her last film of the year, Winged Victory (1944). The audiences loved it and the film was profitable.
In 1945, Jeanne was cast in State Fair (1945) as Margie Frake who travels to the fair and falls in love with a reporter played by Dana Andrews. Now, Jeanne got a bigger contract and more recognition. Later that year, Jeanne married Paul Brooks on New Year's Eve. Although her mother wasn't supportive of the marriage, the union lasted until her husband's death and produced seven children. The year 1947 was an off year for Jeanne, as she took time off to bear the Brooks' first child.
In 1949, Jeanne appeared in three films, A Letter to Three Wives (1949), The Fan (1949), and Pinky (1949). It was this latter film which garnered her an Oscar nomination as Best Actress for her role as Pinky Johnson, a nurse who sets up a clinic in the Deep South. She lost to Olivia de Havilland for The Heiress (1949). Jeanne left Fox after filming Vicki (1953) in 1953, with Jean Peters. She had made 23 films for the studio that started her career, but she needed a well-deserved change. As with any good artist, Jeanne wanted to expand her range instead of playing the girl-next-door types.
She went briefly to Warner Brothers for the filming of Duel in the Jungle (1954) in 1954. The film was lukewarm at best. Jeanne, then, signed a contract, that same year, with Universal Studios with promises of better, high profile roles. She went into production in the film Man Without a Star (1955) which was a hit with audiences and critics. After The Joker Is Wild (1957) in 1957, Jeanne took time off for her family and to appear in a few television programs. She returned, briefly, to film in Guns of the Timberland (1960) in 1960. The films were sporadic after that. In 1967, she appeared in a low-budget suspense yarn called Hot Rods to Hell (1966). Her final film was as Clara Shaw in 1972's Skyjacked (1972).
Jeanne died of a heart attack in Santa Barbara, California, on December 14, 2003. Her husband Paul Brooks had died two months earlier.708 points- Actress
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Today Barbara Stanwyck is remembered primarily as the matriarch of the family known as the Barkleys on the TV western The Big Valley (1965), wherein she played Victoria, and from the hit drama The Colbys (1985). But she was known to millions of other fans for her movie career, which spanned the period from 1927 until 1964, after which she appeared on television until 1986. It was a career that lasted for 59 years.
Barbara Stanwyck was born Ruby Catherine Stevens on July 16, 1907, in Brooklyn, New York, to working class parents Catherine Ann (McPhee) and Byron E. Stevens. Her father, from Massachusetts, had English ancestry, and her Canadian mother, from Nova Scotia, was of Scottish and Irish descent. Stanwyck went to work at the local telephone company for fourteen dollars a week, but she had the urge (a dream--that was all it was) somehow to enter show business. When not working, she pounded the pavement in search of dancing jobs. The persistence paid off. Barbara was hired as a chorus girl for the princely sum of $40 a week, much better than the wages she was getting from the phone company. She was seventeen, and was going to make the most of the opportunity that had been given her.
In 1928 Barbara moved to Hollywood, where she was to start one of the most lucrative careers filmdom had ever seen. She was an extremely versatile actress who could adapt to any role. Barbara was equally at home in all genres, from melodramas, such as Forbidden (1932) and Stella Dallas (1937), to thrillers, such as Double Indemnity (1944), one of her best films, also starring Fred MacMurray (as you have never seen him before). She also excelled in comedies such as Remember the Night (1939) and The Lady Eve (1941). Another genre she excelled in was westerns, Union Pacific (1939) being one of her first and TV's The Big Valley (1965) (her most memorable role) being her last. In 1983, she played in the ABC hit mini-series The Thorn Birds (1983), which did much to keep her in the eye of the public. She turned in an outstanding performance as Mary Carson.
Barbara was considered a gem to work with for her serious but easygoing attitude on the set. She worked hard at being an actress, and she never allowed her star quality to go to her head. She was nominated for four Academy Awards, though she never won. She turned in magnificent performances for all the roles she was nominated for, but the "powers that be" always awarded the Oscar to someone else. However, in 1982 she was awarded an honorary Academy Award for "superlative creativity and unique contribution to the art of screen acting." Sadly, Barbara died on January 20, 1990, leaving 93 movies and a host of TV appearances as her legacy to us.704 points- Actress
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Karachi-born Margaret Lockwood, daughter of a British colonial railway clerk, was educated in London and studied to be an actress at the Italia Conti Drama School. Her first moment on stage came at the age of 12, when she played a fairy in "A Midsummer Night's Dream" in 1928. She had a bit part in the Drury Lane production of "Cavalcade" in 1932, before completing her training at the Royal Academy of Dramatic Art.
Her film career began in 1934 with Lorna Doone (1934) and she was already a seasoned performer when Alfred Hitchcock cast her in his thriller, The Lady Vanishes (1938), opposite relative newcomer Michael Redgrave. The film was shot at Islington studios and was "in the can" after just five weeks in 1937 and released the following year. This was her first opportunity to shine, and she gave an intelligent, convincing performance as the inquisitive girl who suspects a conspiracy when an elderly lady (May Whitty) seemingly disappears into thin air during a train journey. Due to the success of the film, Margaret spent some time in Hollywood but was given poor material and soon returned home. Back at Gainsborough, producer Edward Black had planned to pair Lockwood and Redgrave much the same way William Powell and Myrna Loy had been teamed up in the "Thin Man" films in America, but the war intervened and the two were only to appear together in the Carol Reed-directed The Stars Look Down (1940). This was the first of her "bad girl" roles that would effectively redefine her career in the 1940s. In between playing femmes fatales, she had a popular hit in the 1944 melodrama A Lady Surrenders (1944) as a brilliant but fatally ill pianist and was sympathetic enough as a young girl who is possessed by a ghost in A Place of One's Own (1945). However, her best-remembered performances came in two classic Gainsborough period dramas. The first of these, The Man in Grey (1943), co-starring James Mason, was torrid escapist melodrama with Lockwood portraying a treacherous, opportunistic vixen, all the while exuding more sexual allure than was common for films of this period. The enormous popular success of this picture led to her second key role in 1945 (again with Mason) as the cunning and cruel title character of The Wicked Lady (1945), a female Dick Turpin. This was even more daring in its depiction of immorality, and the controversy surrounding the film did no harm at the box office. Some of Lockwood's scenes had to be re-shot for American audiences not accustomed to seeing décolletages. Margaret scored another hit with Bedelia (1946), as a demented serial poisoner, and then played a Gypsy girl accused of murder in the Technicolor romp Jassy (1947).
As her popularity waned in the 1950s she returned to occasional performances on the West End stage and appeared on television, making her greatest impact as a dedicated barrister in the ITV series Justice (1971), which ran from 1971 to 1974.703 points- Actress
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Eileen Evelyn Greer Garson was born on September 29, 1904 in London, England, to Nancy Sophia (Greer) and George Garson, a commercial clerk. Of Scottish and Ulster-Scots descent, Garson displayed no early interest in becoming an actress. Educated at the University of London intending to become a teacher, she opted instead to take a job at an advertising agency. During her off hours she appeared in local theatrical productions, gaining a reputation as an extremely talented and charismatic performer. During a stage production of "Old Music," Garson was offered a studio contract by MGM Vice President of Production Louis B. Mayer while he was on a visit to London looking for new talent. Garson's very first film under that arrangement was the immensely popular Goodbye, Mr. Chips (1939), earning her an Academy Award nomination for Best Actress - the first of six she would receive. The following year would see Greer in the highly acclaimed Pride and Prejudice (1940) as "Elizabeth Bennet". 1941 saw her earn a second nomination for her role as Edna Gladney in Blossoms in the Dust (1941), but it was the moving, if propagandist, Mrs. Miniver (1942), in a role that she would forever be known by, that actually brought her the Oscar statuette as Best Actress.
As Marie Curie in Madame Curie (1943), she would draw yet another nomination, and the same the next year in Mrs. Parkington (1944). It began to seem that any movie she was part of would be an automatic success. Sure enough, in 1945, she won yet another nomination, for her role as "Mary Rafferty" in The Valley of Decision (1945). Still, Garson began to chafe at the unbroken stream of "noble woman" roles in which the studio was casting her. MGM felt that they had an winning formula and saw no compelling reason to alter it. Two standard seven-year contract extensions kept her at MGM until 1954 when, by mutual consent, she left the only studio she had ever known. In 1946, Greer appeared in Adventure (1945), which was a flop at the box-office. 1947's Desire Me (1947) was no less a disaster, downward spiral finally arrested with the hit That Forsyte Woman (1949). The next year, she reprised her role as "Kay Miniver" in The Miniver Story (1950), though audiences were unsurprisingly put off by her character's untimely demise from cancer, leaving screen husband Walter Pidgeon to soldier on alone.
For the remainder of the 1950s, she endured several predictably unappreciated films. Then, 1960 found her cast in the role of Eleanor Roosevelt in Sunrise at Campobello (1960). This film was, perhaps, her finest work and landed her seventh and final Academy Award nomination. Her final screen appearances were in The Singing Nun (1966) as "Mother Prioress" and The Happiest Millionaire (1967). After a few TV movies, Garson retired to the New Mexico ranch she shared with her husband, millionaire Buddy E.E. Fogelson. She concentrated on the environment and other various charities. By the 1980s, she was suffering from chronic heart problems, prompting her to slow down. That was the cause of her death on April 6, 1996 in Dallas, Texas, at age 91.703 points