The Best Actor 1937
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Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.3646 points- Actor
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Jean-Alexis Moncorgé started his career with 15 years at the theatre and debuted at the "Moulin Rouge" in Paris in 1929. Despite of his rude aspect he knew to be the gentleman of the French cinema in the time between the two World Wars. One of his most popular personalities was inspector Maigret. But he was also able to play all other kind of people: aristocrats, farmers, thieves and managers. He never stopped working and when death surprised him in 1976 he was still an institution for the French audience.2314 points- Actor
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British leading man of primarily American films, one of the great stars of the Golden Age. Raised in Ealing, the son of a successful silk merchant, he attended boarding school in Sussex, where he discovered amateur theatre. He intended to attend Cambridge and become an engineer, but his father's death cost him the financial support necessary. He joined the London Scottish Regionals and at the outbreak of World War I was sent to France. Seriously wounded at the battle of Messines--he was gassed--he was invalided out of service scarcely two months after shipping out for France. Upon his recovery he tried to enter the consular service, but a chance encounter got him a small role in a London play. He dropped other plans and concentrated on the theatre, and was rewarded with a succession of increasingly prominent parts. He made extra money appearing in a few minor films, and in 1920 set out for New York in hopes of finding greater fortune there than in war-depressed England. After two years of impoverishment he was cast in a Broadway hit, "La Tendresse". Director Henry King spotted him in the show and cast him as Lillian Gish's leading man in The White Sister (1923). His success in the film led to a contract with Samuel Goldwyn, and his career as a Hollywood leading man was underway. He became a vastly popular star of silent films, in romances as well as adventure films. The coming of sound made his extraordinarily beautiful speaking voice even more important to the film industry. He played sophisticated, thoughtful characters of integrity with enormous aplomb, and swashbuckled expertly when called to do so in films like The Prisoner of Zenda (1937). A decade later he received an Academy Award for his splendid portrayal of a tormented actor in A Double Life (1947). Much of his later career was devoted to "The Halls of Ivy", a radio show that later was transferred to television The Halls of Ivy (1954). He continued to work until nearly the end of his life, which came in 1958 after a brief lung illness. He was survived by his second wife, actress Benita Hume, and their daughter Juliet Benita Colman.1562 points- Actor
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It seemed like Edward Everett Horton appeared in just about every Hollywood comedy made in the 1930s. He was always the perfect counterpart to the great gentlemen and protagonists of the films. Horton was born in Brooklyn, New York City, to Isabella S. (Diack) and Edward Everett Horton, a compositor for the NY Times. His maternal grandparents were Scottish and his father was of English and German ancestry. Like many of his contemporaries, Horton came to the movies from the theatre, where he debuted in 1906. He made his film debut in 1922. Unlike many of his silent-film colleagues, however, Horton had no problems in adapting to the sound, despite--or perhaps because of--his crackling voice. From 1932 to 1938 he worked often with Ernst Lubitsch, and later with Frank Capra. He has appeared in more than 120 films, in addition to a large body of work on TV, among which was the befuddled Hekawi medicine man Roaring Chicken on the western comedy F Troop (1965).1529 points- Actor
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Once told by an interviewer, "Everybody would like to be Cary Grant", Grant is said to have replied, "So would I."
Cary Grant was born Archibald Alec Leach on January 18, 1904 in Horfield, Bristol, England, to Elsie Maria (Kingdon) and Elias James Leach, who worked in a factory. His early years in Bristol would have been an ordinary lower-middle-class childhood, except for one extraordinary event. At age nine, he came home from school one day and was told his mother had gone off to a seaside resort. However, the real truth was that she had been placed in a mental institution, where she would remain for years, and he was never told about it (he would not see his mother again until he was in his late 20s).
He left school at age 14, lying about his age and forging his father's signature on a letter to join Bob Pender's troupe of knockabout comedians. He learned pantomime as well as acrobatics as he toured with the Pender troupe in the English provinces, picked up a Cockney accent in the music halls in London, and then in July 1920, was one of the eight Pender boys selected to go to the United States. Their show on Broadway, "Good Times", ran for 456 performances, giving Grant time to acclimatize. He would stay in America. Mae West wanted Grant for She Done Him Wrong (1933) because she saw his combination of virility, sexuality and the aura and bearing of a gentleman. Grant was young enough to begin the new career of fatherhood when he stopped making movies at age 62.
One biographer said Grant was alienated by the new realism in the film industry. In the 1950s and early 1960s, he had invented a man-of-the-world persona and a style - "high comedy with polished words". In To Catch a Thief (1955), he and Grace Kelly were allowed to improvise some of the dialogue. They knew what the director, Alfred Hitchcock, wanted to do with a scene, they rehearsed it, put in some clever double entendres that got past the censors, and then the scene was filmed. His biggest box-office success was another Hitchcock 1950s film, North by Northwest (1959) made with Eva Marie Saint since Kelly was by that time Princess of Monaco.
Although Grant retired from the screen, he remained active. He accepted a position on the board of directors at Faberge. By all accounts this position was not honorary, as some had assumed. Grant regularly attended meetings and traveled internationally to support them. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother Dyan Cannon, was working. He later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle - Hollywood, California), Western Airlines (acquired by Delta Airlines in 1987) and MGM.
Grant expressed no interest in making a career comeback. He was in good health until almost the end of his life, when he suffered a mild stroke in October 1984. In his last years, he undertook tours of the United States in a one-man-show, "A Conversation with Cary Grant", in which he would show clips from his films and answer audience questions. On November 29, 1986, Cary Grant died at age 82 of a cerebral hemorrhage in Davenport, Iowa.
In 1999, the American Film Institute named Grant the second male star of Golden Age of Hollywood cinema (after Humphrey Bogart). Grant was known for comedic and dramatic roles; his best-known films include Bringing Up Baby (1938), The Philadelphia Story (1940), His Girl Friday (1940), Arsenic and Old Lace (1944), Notorious (1946), An Affair to Remember (1957), North by Northwest (1959) and Charade (1963).1519 points- Actor
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Basil Rathbone was born in Johannesburg, South Africa, in 1892, but three years later his family was forced to flee the country because his father was accused by the Boers of being a British spy at a time when Dutch-British conflicts were leading to the Boer War. The Rathbones escaped to England, where Basil and his two younger siblings, Beatrice and John, were raised. Their mother, Anna Barbara (George), was a violinist, who was born in Grahamstown, South Africa, of British parents, and their father, Edgar Philip Rathbone, was a mining engineer born in Liverpool. From 1906 to 1910 Rathbone attended Repton School, where he was more interested in sports--especially fencing, at which he excelled--than studies, but where he also discovered his interest in the theater. After graduation he planned to pursue acting as a profession, but his father disapproved and suggested that his son try working in business for a year, hoping he would forget about acting. Rathbone accepted his father's suggestion and worked as a clerk for an insurance company--for exactly one year. Then he contacted his cousin Frank Benson, an actor managing a Shakespearean troupe in Stratford-on-Avon.
Rathbone was hired as an actor on the condition that he work his way through the ranks, which he did quite rapidly. Starting in bit parts in 1911, he was playing juvenile leads within two years. In 1915 his career was interrupted by the First World War. During his military service, as a second lieutenant in the Liverpool Scottish 2nd Battalion, he worked in intelligence and received the Military Cross for bravery. In 1919, released from military service, he returned to Stratford-on-Avon and continued with Shakespeare but after a year moved onto the London stage. The year after that he made his first appearance on Broadway and his film debut in the silent Innocent (1921).
For the remainder of the decade Rathbone alternated between the London and New York stages and occasional appearances in films. In 1929 he co-wrote and starred as the title character in a short-running Broadway play called "Judas". Soon afterwards he abandoned his first love, the theater, for a film career. During the 1920s his roles had evolved from the romantic lead to the suave lady-killer to the sinister villain (usually wielding a sword), and Hollywood put him to good use during the 1930s in numerous costume romps, including Captain Blood (1935), David Copperfield (1935), A Tale of Two Cities (1935), Anna Karenina (1935), The Last Days of Pompeii (1935), The Adventures of Robin Hood (1938), Tower of London (1939), The Mark of Zorro (1940) and others. Rathbone earned two Oscar nominations for Best Supporting Actor as Tybalt in Romeo and Juliet (1936) and as King Louis XI in If I Were King (1938).
However, it was in 1939 that Rathbone played his best-known and most popular character, Sherlock Holmes, with Nigel Bruce as Dr. Watson, first in The Hound of the Baskervilles (1939) and then in The Adventures of Sherlock Holmes (1939), which were followed by 12 more films and numerous radio broadcasts over the next seven years.
Feeling that his identification with the character was killing his film career, Rathbone went back to New York and the stage in 1946. The next year he won a Tony Award for his portrayal of Dr. Sloper in the Broadway play "The Heiress," but afterwards found little rewarding stage work. Nevertheless, during the last two decades of his life, Rathbone was a very busy actor, appearing on numerous television shows, primarily drama, variety and game shows; in occasional films, such as Casanova's Big Night (1954), The Court Jester (1955), Tales of Terror (1962) and The Comedy of Terrors (1963); and in his own one-man show, "An Evening with Basil Rathbone", with which he toured the U.S.1518 points- Actor
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Paul Muni was born Sept. 22, 1895, in Lemberg, Austro-Hungarian Empire, to Salli and Phillip Weisenfreund, who were both professionals. His family was Jewish, and spoke Yiddish. Paul was educated in New York and Cleveland public schools. He was described as 5 feet 10 inches, with black hair and eyes, 165 pounds. He joined the Yiddish Art Theatre in New York (1908) for 4 years, and then moved to other Yiddish theaters until 1926, when he "went into an American play" called "We Americans", his first English-language role. In 1927-28, he appeared in the plays "Four Walls", "This One Man", "Counsellor-at-Law", and others. He began with Fox in 1928. He would later alternate between Broadway and Hollywood for his roles, becoming one of the more distinguished actors in either venue. Failing eyesight and otherwise poor health forced him into retirement after his appearance in The Last Angry Man (1959).1515 points- Actor
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Ian Hunter was born in the Kenilworth area of Cape Town, South Africa where he spent his childhood. In his teen years he and his parents returned to the family origins in England to live. Sometime between that arrival and the early years of World War I, Hunter began exploring acting, then in 1917 - and being only 17 - he joined the army to serve in France for the last year of the conflict still remaining. Within two years he did indeed make his stage-acting debut. Hunter would never forget the stage was the thing when the lure of movie making called - he would always return through his career. With a jovial face perpetually on the verge of smiling and a friendly and mildly English accent, Hunter had good guy lead written all over him. He decided to sample the relatively young British silent film industry by taking a part in Not for Sale (1924) for British director W.P. Kellino who had started out writing and acting for the theater. Hunter then made his first trip to the U.S. - Broadway, not Hollywood - because Basil Dean, well known British actor, director, and producer, was producing Sheridan's "The School for Scandal" at the Knickerbocker Theater - unfortunately folding after one performance. It was a more concerted effort with film the next year back in Britain, again with Kellino. He then met up-and-coming mystery and suspense director Alfred Hitchcock in 1927. He did Hitch's The Ring (1927) - about the boxing game, not suspense - and stayed for the director's Downhill (1927). And with a few more films into the next year he was back with Hitchcock once more for Easy Virtue (1927), the Noël Coward play. By late 1928 he returned to Broadway for only a month's run in the original comedy "Olympia" but stayed on in the United States via his first connection with Hollywood. The film was Syncopation (1929), his first sound film and that for RKO, that is, one of the early mono efforts, sound mix with the usual silent acting. As if restless to keep ever cycling back and forth across the Atlantic - fairly typical of Hunter's career - he returned to London for Dean's mono thriller Escape! (1930). There was an interval of fifteen films in all before Hunter returned to Hollywood and by then he was well established as a leading man. With The Girl from 10th Avenue (1935) with Bette Davis, Hunter made his connection with Warner Bros. But before settling in with them through much of the 1930s, he did three pictures in succession with another gifted and promising British director, Michael Powell. He then began the films he is most remembered from Hollywood's Golden Era. Although a small part, he is completely engaging and in command as the Duke in the Shakespearean extravaganza of Austrian theater master Max Reinhardt, A Midsummer Night's Dream (1935) for Warner Bros. It marked the start of a string of nearly thirty films for WB. Among the best remembered was his jovial King Richard in the rollicking The Adventures of Robin Hood (1938). Hunter was playing the field as well - he was at Twentieth Century as everybody's favorite father-hero - including Shirley Temple - in the The Little Princess (1939). And he was the unforgettable benign guardian angel-like Cambreau in Loew's Strange Cargo (1940) with Clark Gable. He was staying regularly busy in Hollywood until into 1942 when he returned to Britain to serve in the war effort. After the war Hunter stayed on in London, making films and doing stage work. He appeared once more on Broadway in 1948 and made Edward, My Son (1949) for George Cukor. Although there was some American playhouse theater in the mid-1950s, Hunter was bound to England, working once more for Powell in 1961 before retiring in the middle of that decade after nearly a hundred outings before the camera.1511 points- Actor
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The words "suave" and "debonair" became synonymous with the name Adolphe Menjou in Hollywood, both on- and off-camera. The epitome of knavish, continental charm and sartorial opulence, Menjou, complete with trademark waxy black mustache, evolved into one of Hollywood's most distinguished of artists and fashion plates, a tailor-made scene-stealer, if you will. What is often forgotten is that he was primed as a matinée idol back in the silent-film days. With hooded, slightly owlish eyes, a prominent nose and prematurely receding hairline, he was hardly competition for Rudolph Valentino, but he did possess the requisite demeanor to confidently pull off a roguish and magnetic man-about-town. Fluent in six languages, Menjou was nearly unrecognizable without some type of formal wear, and he went on to earn distinction as the nation's "best dressed man" nine times.
Born on February 18, 1890, in Pittsburgh, Pennsylvania, he was christened Adolphe Jean Menjou, the elder son of a hotel manager. His Irish mother was a distant cousin of novelist / poet James Joyce ("Ulysses") (1882-1941). His French father, an émigré, eventually moved the family to Cleveland, where he operated a chain of restaurants. He disapproved of show business and sent an already piqued Adolphe to Culver Military Academy in Indiana in the hopes of dissuading him from such a seemingly reckless and disreputable career. From there Adolphe was enrolled at Stiles University prep school and then Cornell University. Instead of acquiescing to his father's demands and obtaining a engineering degree, however, he abruptly changed his major to liberal arts and began auditioning for college plays. He left Cornell in his third year in order to help his father manage a restaurant for a time during a family financial crisis. From there he left for New York and a life in the theater.
Adolphe toiled as a laborer, a haberdasher and even a waiter in one of his father's restaurants during his salad days, which included some vaudeville work. Oddly enough, he never made it to Broadway but instead found extra and/or bit work for various film studios (Vitagraph, Edison, Biograph) starting in 1915. World War I interrupted his early career, and he served as a captain with the Ambulance Corps in France. After the war he found employment off-camera as a productions manager and unit manager. When the New York-based film industry moved west, so did Adolphe.
Nothing of major significance happened for the fledgling actor until 1921, an absolute banner year for him. After six years of struggle he finally broke into the top ranks with substantial roles in The Faith Healer (1921) and Through the Back Door (1921), the latter starring Mary Pickford. He formed some very strong connections as a result and earned a Paramount contract in the process. Cast by Mary's then-husband Douglas Fairbanks as Louis XIII in the rousing silent The Three Musketeers (1921), he finished off the year portraying the influential writer/friend Raoul de Saint Hubert in Rudolph Valentino's classic The Sheik (1921).
Firmly entrenched in the Hollywood lifestyle, it took little time for Menjou to establish his slick prototype as the urbane ladies' man and wealthy roué. Paramount, noticing how Menjou stole scenes from Charles Chaplin favorite Edna Purviance in Chaplin's A Woman of Paris: A Drama of Fate (1923), started capitalizing on Menjou's playboy image by casting him as various callous and creaseless matinée leads in such films as Broadway After Dark (1924), Sinners in Silk (1924), The Ace of Cads (1926), A Social Celebrity (1926) and A Gentleman of Paris (1927). His younger brother Henri Menjou, a minor actor, had a part in Adolphe's picture Blonde or Brunette (1927).
The stock market crash led to the termination of Adolphe's Paramount contract, and his status as leading man ended with it. MGM took him on at half his Paramount salary and his fluency in such languages as French and Spanish kept him employed at the beginning. Rivaling Gary Cooper for the attentions of Marlene Dietrich in Morocco (1930) started the ball rolling for Menjou as a dressy second lead. Rarely placed in leads following this period, he managed his one and only Oscar nomination for "Best Actor" with his performance as editor Walter Burns in The Front Page (1931). Not initially cast in the role, he replaced Louis Wolheim, who died ten days into rehearsal. Quality parts in quality pictures became the norm for Adolphe during the 1930s, with outstanding roles given him in The Great Lover (1931), A Farewell to Arms (1932), Forbidden (1932), Little Miss Marker (1934), Morning Glory (1933), A Star Is Born (1937), Stage Door (1937) and Golden Boy (1939).
The 1940s were not as golden, however. In addition to entertaining the troops overseas and making assorted broadcasts in a host of different languages, he did manage to get the slick and slimy Billy Flynn lawyer role opposite Ginger Rogers' felon in the "Chicago" adaptation Roxie Hart (1942), and continued to earn occasional distinction in such post-WWII pictures as The Hucksters (1947) and State of the Union (1948). His last lead was in the crackerjack thriller The Sniper (1952), in which he played an (urbane) San Francisco homicide detective tracking down a killer who preys on women in San Francisco, and he appeared without his mustache for the first time in nearly two decades. Also active on radio and TV, his last notable film was the classic anti-war picture Paths of Glory (1957) playing the villainous Gen. Broulard.
Adolphe's extreme hardcore right-wing Republican politics hurt his later reputation, as he was made a scapegoat for his cooperation as a "friendly witness" at the House Un-American Activities Commission hearing during the Joseph McCarthy Red Scare era. Following his last picture, Disney's Pollyanna (1960), in which he played an uncharacteristically rumpled curmudgeon who is charmed by Hayley Mills, he retired from acting. He died after a nine-month battle with hepatitis on October 29, 1963, inside his Beverly Hills home. Three times proved the charm for Adolphe with his 1934 marriage to actress Verree Teasdale, who survived him. The couple had an adopted son named Peter. His autobiography, "It Took Nine Tailors" (1947), pretty much says it all for this polished, preening professional.1504 points- Actor
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The name may have been forgotten, especially today (seven decades later), but the portly, apoplectic, exasperated figure on the 1930s screen wasn't. While his film career, save a couple of silents, lasted a paltry seven years (1932-1939), character actor Walter Connolly certainly ran the distance. While some film historians complain that a number of his performances were annoying or overbaked, he was for the most part applauded for his zesty contributions to a number of comedy classics. Frank Capra's Lady for a Day (1933), Broadway Bill (1934) and It Happened One Night (1934), not to mention the Carole Lombard/Fredric March screwball farce Nothing Sacred (1937) as news reporter March's hot-headed editor boss are sure-fire examples.
The Cincinnati, Ohio native was born on April 8, 1887 and schooled there. The son of the head of the Western Union relay office, he attended St. Xavier College and the University of Dublin in Ireland before making his New York debut in 1910 in an outdoor presentation of "As You Like It". For the next year or so he was a member of E.H. Sothern's touring company and played supporting roles in a number of Shakespearean shows on the road. After a few silent pictures left him unimpressed with film-making, he turned to the Broadway stage in the 1920s and scored quite well. Somewhat short and tubby, it was not difficult for the jowly, mustachioed actor to seize laughs and he found his share in such outings as "The Talking Parrot" (1923), "Applesauce" (1925), "The Springboard" (1927), "The Happy Husband" (1928), "Stepping Out" (1929), "Your Uncle Dudley" (1930), "Anatol" (1931), "Six Characters in Search of an Author" (1931), "The Good Fairy" (1932) and "The Late Christopher Bean" (1932).
With his talents as a stage farceur firmly established, it was time to make a second attempt at a film career and Hollywood (specifically, Columbia) wisely opened their doors to him. Interestingly, his debut in a full-length talking picture came at age 45 in the form of a drama, Washington Merry-Go-Round (1932), where he was third-billed as a rather benign senator. For the next seven years Connolly, often playing older than he really was, could be found everywhere giving good fluster to the greatest and glossiest of stars -- Janet Gaynor, Carole Lombard, Clark Gable, Jean Harlow, Myrna Loy, Paul Muni, Spencer Tracy, and Ginger Rogers, among hordes of others.
Every now and then he was asked to hold up a film, as with his leading roles in the drama Whom the Gods Destroy (1934), the Hecht/MacArthur comedy/drama Soak the Rich (1936), and the whodunnits Father Brown, Detective (1934) (as the title priest/gumshoe) and The League of Frightened Men (1937) (as supersleuth Nero Wolfe). Connolly's archetypal fuming was on full display in the comedies She Couldn't Take It (1935) with George Raft and Joan Bennett and Fifth Avenue Girl (1939) with Ginger Rogers. His last role was as the great composer himself in the highly fictional The Great Victor Herbert (1939), although it wasn't the leading role.
Connolly married actress Nedda Harrigan in 1920. The two appeared together in the Broadway comedies "Treat 'Em Rough" (1926) and "Merry Andrew" (1929). They had one daughter, actress Ann Connolly (1924-2006), who also appeared on stage and played the grownup Wendy in the 'Mary Martin' /Cyril Ritchard Broadway production of "Peter Pan" in 1954. Ironically, Connolly, whose obesity was probably a contributing factor to his fatal stroke suffered on May 28, 1940, received his final divorce decree on the day he died. He was only 53.1493 points- Actor
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Louis Jouvet was a living glory of the French theatre where he debuted in 1910. In his life he has worked as pharmacist, manager of a theatre, actor and theatre teacher. He debuted at the movies in 1932 and his best films were of the Golden Age of French cinema called the "poetical realism", e.g. "Hotel du Nord (1938)" or "La fin du jour (1939)". His character, his eagle-like profile and his unique way of speaking made him unforgettable.1492 points- Actor
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Charles Boyer studied philosophy before he went to the theater where he gave his debut in 1920. Although he had at first no intentions to pursue a career at the movies (his first movie was Man of the Sea (1920) by Marcel L'Herbier) he used his chance in Hollywood after several filming stations all over Europe. In the beginning of his career his beautiful voice was hidden by the silent movies but in Hollywood he became famous for his whispered declarations of love (like in movies with Greta Garbo, Marlene Dietrich or Ingrid Bergman). In 1934 he married Pat Paterson, his first and (unusual for a star) only wife. He was so faithful to her that he decided to commit suicide two days after her death in 1978.1491 points- Actor
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Fredric March began a career in banking but in 1920 found himself cast as an extra in films being produced in New York. He starred on the Broadway stage first in 1926 and would return there between screen appearances later on. He won plaudits (and an Academy Award nomination) for his send-up of John Barrymore in The Royal Family of Broadway (1930). Four more Academy Award nominations would come his way, and he would win the Oscar for Best Actor twice: for Dr. Jekyll and Mr. Hyde (1931) and The Best Years of Our Lives (1946). He could play roles varying from heavy drama to light comedy, and was often best portraying men in anguish, such as Willy Loman in Death of a Salesman (1951). As his career advanced he progressed from leading man to character actor.1490 points- Actor
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Movie roles are sometimes based upon what the audience expects to see. If the role called for the tall stereotypical Englishmen with the stiff upper lip and stern determination, that man would be C. Aubrey Smith, graduate of Cambridge University, a leading Freemason and a test cricketer for England. Smith was 30 by the time he embarked upon a career on the stage. It took another 20 plus years before he entered the flickering images of the movies. By 1915, Smith was over 50 in a medium that demanded young actors and starlets. For the next ten years, he appeared in a rather small number of silent movies, and after that, he faded from the scene. It was in 1930, with the advent of sound, that Smith found his position in the movies and that position would be distinguished roles. He played military officers, successful business men, ministers of the cloth and ministers of government. With the bushy eyebrows and stoic face, he played men who know about honour, tradition, and the correct path. He worked with big stars such as Greta Garbo, Douglas Fairbanks Jr. and Shirley Temple. As for honours, Smith received the Order of the British Empire in 1938 and was knighted in 1944. He continued to work up to the time of his death.1489 points- Actor
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This remarkable, soft-spoken American began in films as a diffident juvenile. With passing years, he matured into a star character actor who exemplified not only integrity and strength, but an ideal of the common man fighting against social injustice and oppression. He was born in Grand Island, Hall, Nebraska, the son of Herberta Elma (Jaynes) and William Brace Fonda, who was a commercial printer, and proprietor of the W. B. Fonda Printing Company in Omaha, Nebraska. His distant ancestors were Italians who had fled their country and moved to Holland, presumably because of political or religious persecution. In the mid-1600s, they crossed the Atlantic and settled in upstate New York where they founded a community with the Fonda name.
Growing up, Henry developed an early interest in journalism after having a story published in a local newspaper. At the age of twelve, he helped in his father's printing business for $2 a week. Following graduation from high school in 1923, he got a part-time job in Minneapolis with the Northwestern Bell Telephone Company which allowed him at first to pursue journalistic studies at the University of Minnesota. As it became difficult to juggle his working hours with his academic roster, he obtained another position as a physical education instructor at $30 a week, including room and board. By this time, he had grown to a height of six foot one and was a natural for basketball.
In 1925, having returned to Omaha, Henry reevaluated his options and came to the conclusion that journalism was not his forte, after all. For a while, he tried his hand at several temporary jobs, including as a mechanic and a window dresser. Then, despite opposition from his parents, Henry accepted an offer from Gregory Foley, director of the Omaha Playhouse, to play the title role in 'Merton of the Movies'. His father would not speak to him for a month. The play and its star received fairly good notices in the local press. It ran for a week, after which Henry observed "the idea of being Merton and not myself taught me that I could hide behind a mask". For the rest of the repertory season, Henry advanced to assistant director which enabled him to design and paint sets as well as act. A casual trip to New York, however, had already made him set his sights on Broadway.
In 1928, he headed east and briefly played in summer stock before joining the University Players, a group of talented Princeton and Harvard graduates among whose number were such future luminaries as James Stewart (who would remain his closest lifelong friend), Joshua Logan and Kent Smith. Before long, Henry played leads opposite Margaret Sullavan, soon to become the first of his five wives. Both marriage and the players broke up four years later. In 1932, Henry found himself sharing a two-room New York apartment with Jimmy Stewart and Joshua Logan. For the next two years, he alternated scenic design with acting at various repertory companies. In 1934, he got a break of sorts, when he was given the chance to present a comedy sketch with Imogene Coca in the Broadway revue New Faces. That year, he also hired Leland Hayward as his personal management agent and this was to pay off handsomely.
It was Hayward who persuaded the 29-year old to become a motion picture actor, despite initial misgivings and reluctance on Henry's part. Independent producer Walter Wanger, whose growing stock company was birthed at United Artists, needed a star for The Farmer Takes a Wife (1935). With both first choice actors Gary Cooper and Joel McCrea otherwise engaged, Henry was the next available option. After all, he had just completed a successful run on Broadway in the stage version. The cheesy publicity tag line for the picture was "you'll be fonder of Fonda", but the film was an undeniable hit. Wanger, realizing he had a good thing going, next cast Henry in a succession of A-grade pictures which capitalized on his image as the sincere, unaffected country boy. Pick of the bunch were the Technicolor outdoor western The Trail of the Lonesome Pine (1936), the gritty Depression-era drama You Only Live Once (1937) (with Henry as a back-to-the-wall good guy forced into becoming a fugitive from the law by circumstance), the screwball comedy The Moon's Our Home (1936) (with ex-wife Sullavan), the excellent pre-civil war-era romantic drama Jezebel (1938) and the equally superb Young Mr. Lincoln (1939), in which Henry gave his best screen performance to date as the 'jackleg lawyer from Springfield'. Henry made two more films with director John Ford: the pioneering drama Drums Along the Mohawk (1939) and The Grapes of Wrath (1940), with Henry as Tom Joad, often regarded his career-defining role as the archetypal grassroots American trying to stand up against oppression. It also set the tone for his subsequent career. Whether he played a lawman (Wyatt Earp in My Darling Clementine (1946)), a reluctant posse member (The Ox-Bow Incident (1942), a juror committed to the ideal of total justice in (12 Angry Men (1957)) or a nightclub musician wrongly accused of murder (The Wrong Man (1956)), his characters were alike in projecting integrity and quiet authority. In this vein, he also gave a totally convincing (though historically inaccurate) portrayal in the titular role of The Return of Frank James (1940), a rare example of a sequel improving upon the original.
Henry rarely featured in comedy, except for a couple of good turns opposite Barbara Stanwyck -- with whom he shared an excellent on-screen chemistry -- in The Mad Miss Manton (1938) and The Lady Eve (1941). He was also good value as a poker-playing grifter in the western comedy A Big Hand for the Little Lady (1966). Finally, just to confound those who would typecast him, he gave a chilling performance as one of the coldest, meanest stone killers ever to roam the West, in Sergio Leone's classic Once Upon a Time in the West (1968). Illness curtailed his work in the 1970s. His final screen role was as an octogenarian in On Golden Pond (1981), in which he was joined by his daughter Jane. It finally won him an Oscar on the heels of an earlier Honorary Academy Award. Too ill to attend the ceremony, he died soon after at the age of 77, having left a lasting legacy matched by few of his peers.1477 points- Actor
- Writer
- Soundtrack
Emanuel Goldenberg arrived in the United States from Romania at age ten, and his family moved into New York's Lower East Side. He took up acting while attending City College, abandoning plans to become a rabbi or lawyer. The American Academy of Dramatic Arts awarded him a scholarship, and he began work in stock, with his new name, Edward G. Robinson (the "G" stood for his birth surname), in 1913. Broadway was two years later; he worked steadily there for 15 years. His work included "The Kibitzer", a comedy he co-wrote with Jo Swerling. His film debut was a small supporting part in the silent The Bright Shawl (1923), but it was with the coming of sound that he hit his stride. His stellar performance as snarling, murderous thug Rico Bandello in Little Caesar (1931)--all the more impressive since in real life Robinson was a sophisticated, cultured man with a passion for fine art--set the standard for movie gangsters, both for himself in many later films and for the industry. He portrayed the title character in several biographical works, such as Dr. Ehrlich's Magic Bullet (1940) and A Dispatch from Reuters (1940). Psychological dramas included Flesh and Fantasy (1943), Double Indemnity (1944), The Woman in the Window (1944)and Scarlet Street (1945). Another notable gangster role was in Key Largo (1948). He was "absolved" of allegations of Communist affiliation after testifying as a friendly witness for the House Un-American Activities Committee during the McCarthy hysteria of the early 1950s. In 1956 he had to sell off his extensive art collection in a divorce settlement and also had to deal with a psychologically troubled son. In 1956 he returned to Broadway in "Middle of the Night". In 1973 he was awarded a special, posthumous Oscar for lifetime achievement.1434 points- Actor
- Director
- Producer
James Maitland Stewart was born on May 20, 1908, in Indiana, Pennsylvania, to Elizabeth Ruth (Johnson) and Alexander Maitland Stewart, who owned a hardware store. He was of Scottish, Ulster-Scots, and some English descent. Stewart was educated at a local prep school, Mercersburg Academy, where he was a keen athlete (football and track), musician (singing and accordion playing), and sometime actor.
In 1929, he won a place at Princeton University, where he studied architecture with some success and became further involved with the performing arts as a musician and actor with the University Players. After graduation, engagements with the University Players took him around the northeastern United States, including a run on Broadway in 1932. But work dried up as the Great Depression deepened, and it was not until 1934, when he followed his friend Henry Fonda to Hollywood, that things began to pick up.
After his first screen appearance in Art Trouble (1934), Stewart worked for a time for MGM as a contract player and slowly began making a name for himself in increasingly high-profile roles throughout the rest of the 1930s. His famous collaborations with Frank Capra, in You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939), and, after World War II, It's a Wonderful Life (1946) helped to launch his career as a star and to establish his screen persona as the likable everyman.
Having learned to fly in 1935, he was drafted into the United States Army in 1940 as a private (after twice failing the medical for being underweight). During the course of World War II, he rose to the rank of colonel, first as an instructor at home in the United States, and later on combat missions in Europe. He remained involved with the United States Air Force Reserve after the war and officially retired in 1968. In 1959, he was promoted to brigadier general, becoming the highest-ranking actor in U.S. military history.
Stewart's acting career took off properly after the war. During the course of his long professional life, he had roles in some of Hollywood's best-remembered films, starring in a string of Westerns, bringing his everyman qualities to movies like The Man Who Shot Liberty Valance (1962)), biopics (The Stratton Story (1949), The Glenn Miller Story (1954), and The Spirit of St. Louis (1957), for instance, thrillers (most notably his frequent collaborations with Alfred Hitchcock), and even some screwball comedies.
On June 25, 1997, a thrombosis formed in his right leg, leading to a pulmonary embolism, and a week later on July 2, 1997, surrounded by his children, James Stewart died at age 89 at his home in Beverly Hills, California. His last words to his family were, "I'm going to be with Gloria now".1433 points- Actor
- Writer
- Director
Victor Moore was born on 24 February 1876 in Hammonton, New Jersey, USA. He was an actor and writer, known for Swing Time (1936), The Seven Year Itch (1955) and It Happened on Fifth Avenue (1947). He was married to Shirley Paige and Emma Littlefield. He died on 23 July 1962 in East Islip, Long Island, New York, USA.854 points- Actor
- Writer
- Additional Crew
Thomas Mitchell was one of the great American character actors, whose credits read like a list of the greatest American films of the 20th century: Lost Horizon (1937); Stagecoach (1939); The Hunchback of Notre Dame (1939); Mr. Smith Goes to Washington (1939); Gone with the Wind (1939); It's a Wonderful Life (1946) and High Noon (1952). His portrayals are so diverse and convincing that most people don't even realize that one actor could have played them all. He won a Best Supporting Actor Oscar in 1940 for his role as the drunken Doc Boone in John Ford's Stagecoach (1939).854 points- Actor
- Soundtrack
Edward Arnold was born as Gunther Edward Arnold Schneider in 1890, on the Lower East Side of New York City, the son of German immigrants, Elizabeth (Ohse) and Carl Schneider. Arnold began his acting career on the New York stage and became a film actor in 1916. A burly man with a commanding style and superb baritone voice, he was a popular screen personality for decades, and was the star of such film classics as Diamond Jim (1935) (a role he reprised in Lillian Russell (1940)) Arnold appeared in over 150 films and was President of The Screen Actors Guild shortly before his death in 1956.808 points- Actor
- Director
- Producer
Ray Milland became one of Paramount's most bankable and durable stars, under contract from 1934 to 1948, yet little in his early life suggested a career as a motion picture actor.
Milland was born Alfred Reginald Jones in the Welsh town of Neath, Glamorgan, to Elizabeth Annie (Truscott) and Alfred Jones. He spent his youth in the pursuit of sports. He became an expert rider early on, working at his uncle's horse-breeding estate while studying at the King's College in Cardiff. At 21, he went to London as a member of the elite Household Cavalry (Guard for the Royal Family), undergoing a rigorous 19-months training, further honing his equestrian skills, as well as becoming adept at fencing, boxing and shooting. He won trophies, including the Bisley Match, with his unit's crack rifle team. However, after four years, he suddenly lost his means of financial support (independent income being a requirement as a Guardsman) when his stepfather discontinued his allowance. Broke, he tried his hand at acting in small parts on the London stage.
There are several stories as to how he derived his stage name. It is known, that during his teens he called himself "Mullane", using his stepfather's surname. He may later have suffused "Mullane" with "mill-lands", an area near his hometown. When he first appeared on screen in British films, he was billed first as Spike Milland, then Raymond Milland.
In 1929, Ray befriended the popular actress Estelle Brody at a party and, later that year, visited her on the set of her latest film, The Plaything (1929). While having lunch, they were joined by a producer who persuaded the handsome Welshman to appear in a motion picture bit part. Ray rose to the challenge and bigger roles followed, including the male lead in The Lady from the Sea (1929). The following year, he was signed by MGM and went to Hollywood, but was given little to work with, except for the role of Charles Laughton's ill-fated nephew in Payment Deferred (1932). After a year, Ray was out of his contract and returned to England.
His big break did not come until 1934 when he joined Paramount, where he was to remain for the better part of his Hollywood career. During the first few years, he served an apprenticeship playing second leads, usually as the debonair man-about-town, in light romantic comedies. He appeared with Burns and Allen in Many Happy Returns (1934), enjoyed third-billing as a British aristocrat in the Claudette Colbert farce The Gilded Lily (1935) and was described as "excellent" by reviewers for his role in the sentimental drama Alias Mary Dow (1935). By 1936, he had graduated to starring roles, first as the injured British hunter rescued on a tropical island by The Jungle Princess (1936), the film which launched Dorothy Lamour's sarong-clad career. After that, he was the titular hero of Bulldog Drummond Escapes (1937) and, finally, won the girl (rather than being the "other man") in Mitchell Leisen's screwball comedy Easy Living (1937). He also re-visited the tropics in Ebb Tide (1937), Her Jungle Love (1938) and Tropic Holiday (1938), as well as being one of the three valiant brothers of Beau Geste (1939).
In 1940, Ray was sent back to England to star in the screen adaptation of Terence Rattigan's French Without Tears (1940), for which he received his best critical reviews to date. He was top-billed (above John Wayne) running a ship salvage operation in Cecil B. DeMille's lavish Technicolor adventure drama Reap the Wild Wind (1942), besting Wayne in a fight - much to the "Duke's" personal chagrin - and later wrestling with a giant octopus. Also that year, he was directed by Billy Wilder in a charming comedy, The Major and the Minor (1942) (co-starred with Ginger Rogers), for which he garnered good notices from Bosley Crowther of the New York Times. Ray then played a ghost hunter in The Uninvited (1944), and the suave hero caught in a web of espionage in Fritz Lang's thriller Ministry of Fear (1944).
On the strength of his previous role as "Major Kirby", Billy Wilder chose to cast Ray against type in the ground-breaking drama The Lost Weekend (1945) as dipsomaniac writer "Don Birnam". Ray gave the defining performance of his career, his intensity catching critics, used to him as a lightweight leading man, by surprise. Crowther commented "Mr. Milland, in a splendid performance, catches all the ugly nature of a 'drunk', yet reveals the inner torment and degradation of a respectable man who knows his weakness and his shame" (New York Times, December 3, 1945). Arrived at the high point of his career, Ray Milland won the Oscar for Best Actor, as well as the New York Critic's Award. Rarely given such good material again, he nonetheless featured memorably in many more splendid films, often exploiting the newly discovered "darker side" of his personality: as the reporter framed for murder by Charles Laughton's heinous publishing magnate in The Big Clock (1948); as the sophisticated, manipulating art thief "Mark Bellis" in the Victorian melodrama So Evil My Love (1948) (for which producer Hal B. Wallis sent him back to England); as a Fedora-wearing, Armani-suited "Lucifer", trawling for the soul of an honest District Attorney in Alias Nick Beal (1949); and as a traitorous scientist in The Thief (1952), giving what critics described as a "sensitive" and "towering" performance. In 1954, Ray played calculating ex-tennis champ "Tony Wendice", who blackmails a former Cambridge chump into murdering his wife, in Alfred Hitchcock's Dial M for Murder (1954). He played the part with urbane sophistication and cold detachment throughout, even in the scene of denouement, calmly offering a drink to the arresting officers.
With Lisbon (1956), Ray Milland moved into another direction, turning out several off-beat, low-budget films with himself as the lead, notably High Flight (1957), The Safecracker (1958) and Panic in Year Zero! (1962). At the same time, he cheerfully made the transition to character parts, often in horror and sci-fi outings. In accordance with his own dictum of appearing in anything that had "any originality", he worked on two notable pictures with Roger Corman: first, as a man obsessed with catalepsy in The Premature Burial (1962); secondly, as obsessed self-destructive surgeon "Dr. Xavier" in X: The Man with the X-Ray Eyes (1963)-the Man with X-Ray Eyes, a film which, despite its low budget, won the 1963 Golden Asteroid in the Trieste Festival for Science Fiction.
As the years went on, Ray gradually disposed of his long-standing toupee, lending dignity through his presence to many run-of-the-mill television films, such as Cave in! (1983) and maudlin melodramas like Love Story (1970). He guest-starred in many anthology series on television and had notable roles in Rod Serling's Night Gallery (1969) and the original Battlestar Galactica (1978) (as Quorum member Sire Uri). He also enjoyed a brief run on Broadway, starring as "Simon Crawford" in "Hostile Witness" (1966), at the Music Box Theatre.
In his private life, Ray was an enthusiastic yachtsman, who loved fishing and collecting information by reading the Encyclopedia Brittanica. In later years, he became very popular with interviewers because of his candid spontaneity and humour. In the same self-deprecating vein he wrote an anecdotal biography, "Wide-Eyed in Babylon", in 1976. A film star, as well as an outstanding actor, Ray Milland died of cancer at the age of 79 in March 1986.808 points- Actor
- Soundtrack
Ralph Bellamy was a veteran actor who was so well-liked and respected by his peers that he was the recipient of an honorary Oscar in 1987 for his contributions to the acting profession.
Ralph Rexford Bellamy was born June 17, 1904 in Chicago, Illinois, the son of Lilla Louise (Smith), originally from Hamilton, Ontario, Canada, and Charles Rexford Bellamy, who had deep roots in New England. Bellamy began his career as a player right out of high school in 1922, joining a traveling company that put on Shakespearean plays. For the next five years he appeared with stock companies and repertory theaters associated with the Chautauqua Road Co., which brought culture to the hinterlands. He not only learned his craft but by 1927 wound up owning his own theatrical troupe. Two years later he made his Broadway theatrical debut in "Town Boy" (29 years later he would win a Tony Award).
Bellamy made the first of his over 100 films in 1933, appearing as a gangster in The Secret 6 (1931). While he never became a major star or played many leads in "A" pictures, he made a career out of playing second-leads in major productions before developing into a character actor. In his heyday he typically played a rich but dull character who is jilted by the leading lady (he won his only Oscar nomination, for Best Supporting Actor, for just such a role in the 1937 comedy The Awful Truth (1937), in which he lost Irene Dunne to Cary Grant). He also specialized in redoubtable detectives who always find their man (he starred as Ellery Queen in a series of four "B" movies) and as slightly sinister yet stylish villains (such typecasting reaching its apogee with his turn as the not-so-kindly doctor in the horror classic Rosemary's Baby (1968)).
Bellamy's greatest role was as Franklin D. Roosevelt in Dore Schary's play "Sunrise at Campobello," for which he won a 1958 Best Actor-Dramatic Tony Award. He also reprised his portrayal of Roosevelt in Schary's 1960 movie adaptation of his play Sunrise at Campobello (1960), which brought his co-star Greer Garson a Golden Globe award and a Best Actress Academy Award nomination for playing Eleanor Roosevelt.
To play F.D.R. and show his struggle with the onset of polio, Bellamy studied up on Roosevelt as both man and politician, gaining an insight into the future president's psyche. Like Method actors Marlon Brando and Jon Voight, who prepared for their portrayals of paraplegic war veterans in the movies The Men (1950) and Coming Home (1978) by living in veterans hospitals with paraplegics, Bellamy tried to understand the trauma that F.D.R. underwent and the challenges he faced. Bellamy spent a considerable amount of time at a rehabilitation center learning how to master leg braces, crutches and a wheelchair to increase the verisimilitude of his portrayal of Rosevelt. So successful was his portrait of Roosevelt that he was called upon a generation later to recreate F.D.R. for the blockbuster TV miniseries War and Remembrance (1988) (ironically, Voight himself would later play F.D.R. in the movie Pearl Harbor (2001)).
Bellamy also had a prolific career on television, beginning with his 1948 debut in The Philco Television Playhouse (1948). He starred in one of the first TV police shows, Man Against Crime (1949), which was on the air from 1949-54, and later had roles in several other TV series, including The Eleventh Hour (1962), The Survivors (1969) and The Most Deadly Game (1970). He also appeared in countless TV-movies and tele-plays, and was three times nominated for an Emmy Award.
Known as a champion of actors' rights, Bellamy was one of the founders of the Screen Actors Guild, and also served four terms as President of Actors' Equity from 1952 to 1964. He took office during some of the darkest days of McCarthyism, but positioned Actors' Equity and thus, the Broadway theater to the left of Hollywood by resisting blacklisting. Many of those blacklisted in Hollywood found homes in the theater. Under Bellamy, Actors Equity established standards to protect members against charges of Communist Party membership or "exhibiting left-wing sympathies". (One of the charges levied against legendary stage and film director Elia Kazan, including Rod Steiger at the time Kazan received an honorary Oscar, was that he should have defied the House Un-American Activities Committee and not have named names because he could have remained employed in the theater even if he had been blacklisted in Hollywood.)
Under Bellamy's leadership, Actor's Equity managed to double its assets within the first six years of his presidency and was successful in establishing the first pension fund for actors. It was for his services to the acting community that he was the recipient of an honorary Academy Award in 1987.
Ralph Bellamy died on November 29, 1991 in Santa Monica, California. He was 87 years old.793 points- Actor
- Soundtrack
Alexander D'Arcy was born on 10 August 1908 in Cairo, Egypt. He was an actor, known for The Awful Truth (1937), Blood of Dracula's Castle (1969) and Horrors of Spider Island (1960). He was married to Arleen Whelan. He died on 20 April 1996 in West Hollywood, California, USA.793 points- Actor
- Writer
- Director
Pierre Fresnay was born on 4 April 1897 in Paris, France. He was an actor and writer, known for The Grand Illusion (1937), The Murderer Lives at Number 21 (1942) and Monsieur Vincent (1947). He was married to Berthe Bovy and Rachel Bérendt. He died on 9 January 1975 in Neuilly-sur-Seine, Hauts-de-Seine, Île-de-France, France.792 points- Actor
- Writer
- Director
Erich von Stroheim was born Erich Oswald Stroheim in 1885, in Vienna, Austria, to Johanna (Bondy), from Prague, and Benno Stroheim, a hatter from Gleiwitz, Germany (now Gliwice, Poland). His family was Jewish.
After spending some time working in his father's hat factory, he emigrated to America around 1909. Working in various jobs he arrived in Hollywood in 1914 and got work in D.W. Griffiths' company as a bit player. America's entry into WW1 enabled him to play sadistic monocled German officers but these roles dried up when the war ended. He turned to writing and directing but his passion for unnecessary detail such as Austrian guards wearing correct and expensively acquired regulation underwear which was never seen in 'Foolish Wives' caused the budget to reach a reported $1 million. Although the film became a hit the final edit was given to others resulting in a third of his footage being cut. Irving Thalberg fired him from 'Merry Go Round' which was completed by Rupert Julien. He then started on 'Greed', which when completed was unreleasable being 42 reels with a running time of 7 hours. It was eventually cut down to 10 reels which still had a striking effect on audiences. 'The Wedding March' was so long that even in it's unfinished state it was released as two separate films in Europe. Gloria Swanson fired him from her production of 'Queen Kelly' when with no sign of the film nearing completion the costs had risen to twice the budget partly due to him re-shooting scenes that had already been passed by the Hays office. She then had to spend a further $200,000 putting the footage into releasable state. It was the end for him as a director, but he made a reasonable success as an actor in the talkies.792 points- Harry Baur was born on 12 April 1880 in Paris, France. He was an actor, known for Life Dances On (1937), The Golem: The Legend of Prague (1936) and Les Misérables (1934). He was married to Rika Radifé and Rose Grane. He died on 8 April 1943 in Paris, France.783 points
- Actor
- Additional Crew
- Soundtrack
William Claude Rains, born in the Clapham area of London, was the son of the British stage actor Frederick Rains. The younger Rains followed, making his stage debut at the age of eleven in "Nell of Old Drury." Growing up in the world of theater, he saw not only acting up close but the down-to-earth business end as well, progressing from a page boy to a stage manager during his well-rounded learning experience. Rains decided to come to America in 1913 and the New York theater, but with the outbreak of World War I the next year, he returned to serve with a Scottish regiment in Europe. He remained in England, honing his acting talents, bolstered with instruction patronized by the founder of the Royal Academy of Dramatic Arts, Herbert Beerbohm Tree. It was not long before his talent garnered him acknowledgment as one of the leading stage actors on the London scene. His one and only silent film venture was British with a small part for him, the forgettable -- Build Thy House (1920).
In the meantime, Rains was in demand as acting teacher as well, and he taught at the Royal Academy. Young and eager Laurence Olivier and John Gielgud were perhaps his best known students. Rains did return to New York in 1927 to begin what would be nearly 20 Broadway roles. While working for the Theater Guild, he was offered a screen test with Universal Pictures in 1932. Rains had a unique and solid British voice-deep, slightly rasping -- but richly dynamic. And as a man of small stature, the combination was immediately intriguing. Universal was embarking on its new-found role as horror film factory, and they were looking for someone unique for their next outing, The Invisible Man (1933). Rains was the very man. He took the role by the ears, churning up a rasping malice and volume in his voice to achieve a bone chilling persona of the disembodied mad doctor. He could also throw out a high-pitched maniac laugh that would make you leave the lights on before going to bed. True to Universal's formula mentality, it cast him in similar roles through 1934 with some respite in more diverse film roles -- and further relieved by Broadway roles (1933, 1934) for the remainder of his contract. By 1936, he was at Warner Bros. with its ambitious laundry list of literary epics in full swing. His acting was superb, and his eyes could say as much as his voice. And his mouth could take on both a forbidding scowl and the warmest of smiles in an instant. His malicious, gouty Don Luis in Anthony Adverse (1936) was inspired. After a shear lucky opportunity to dispatch his young wife's lover, Louis Hayward, in a duel, he triumphs over her in a scene with derisive, bulging eyes and that high pitched laugh -- with appropriate shadow and light backdrop -- that is unforgettable.
He was kept very busy through the remainder of the 1930s with a mix of benign and devious historical, literary, and contemporary characters always adapting a different nuance -- from murmur to growl -- of that voice to become the person. He culminated the decade with his complex, ethics-tortured Senator "Joe" Paine in Mr. Smith Goes to Washington (1939). That year he became an American citizen. Into the 1940s, Rains had risen to perhaps unique stature: a supporting actor who had achieved A-list stardom -- almost in a category by himself. His some 40 films during that period ranged from subtle comedy to psychological drama with a bit of horror revisited; many would be golden era classics. He was the firm but thoroughly sympathetic Dr. Jaquith in Now, Voyager (1942) and the smoothly sardonic but engaging Capt. Louis Renault -- perhaps his best known role -- in Casablanca (1942). He was the surreptitiously nervous and malignant Alexander Sebastian in Notorious (1946) and the egotistical and domineering conductor Alexander Hollenius in Deception (1946). He was the disfigured Phantom of the Opera (1943) as well. He played opposite the challenging Bette Davis in three movies through the decade and came out her equal in acting virtuosity. He was nominated four times for the Best Supporting Actor Oscar -- but incredibly never won. With the 1950s the few movies left to an older Rains were countered by venturing into new acting territory -- television. His haunted, suicidal writer Paul DeLambre in the mountaineering adventure The White Tower (1950), though a modest part, was perhaps the most vigorously memorable film role of his last years. He made a triumphant Broadway return in 1951's "Darkness at Noon."
Rains embraced the innovative TV playhouse circuit with nearly 20 roles. As a favored 'Alfred Hitchcock' alumnus, he starred in five Alfred Hitchcock Presents (1955) suspense dramas into the 1960s. And he did not shy away from episodic TV either with some memorable roles that still reflected the power of Claude Rains as consummate actor -- for many, first among peers with that hallowed title.778 points- Actor
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- Producer
Educated at the University of Toronto & Balliol College, Oxford, he joined the Canadian Field Artillery in World War I, served in France & was wounded. His first appearance was in a stage production in Siberia, during the multi-nation intervention of 1918 - 1919. Raymond returned to Canada & his family farm implement business , Massey-Harris Tractor Company, after the war, although footlights proved a greater allure than plowshares. He appeared at the Everyman Theatre, London in "In the Zone" in 1922 and from then his acting career never looked back. As adept in front of arc lights as the footlights, he was signed up for a 5 year contract by Alexander Korda. Major Massey was invalided from the Canadian Army in 1943. Raymond was devoted to his American wife Dorothy, to whom he referred all queries and problems. He had an ardent radio following in the States and became an American citizen. This was natural as his mother and maternal grandmother were Americans. A bad traveler, Raymond hated the sea and airplanes. A good sportsman, he excelled at golf and fishing, A scholar, he loved good literature. A modest man, he regarded himself as supremely uninteresting.777 points- Actor
- Soundtrack
Allan Jones was born Theodore Allen Jones in Old Forge, Pennsylvania. A coal miner's son, he worked in the mines until 1926. At that point in time, he received a scholarship from Syracuse University, but chose instead to study music at New York University with Claude Warford and then with Felix Leroux in Paris and Sir Henry Wood in London.
Classically trained in opera, the handsome Jones worked on Broadway and in operettas until 1935. At that point, Jones was signed by MGM Grand. He is best remembered for his roles in the two Marx Brothers movies A Night at the Opera (1935) and A Day at the Races (1937), and for his costarring role in Show Boat (1936). The movie The Firefly (1937) produced the song "Donkey Serenade", which became Jones's signature song. Jones was relegated to minor roles at MGM after this. He moved to Universal Studios in 1940, and he starred or appeared in several B musicals there and at Paramount.
During the war years, Jones was one of the first entertainers to volunteer to sing for the troops overseas. In 1945, Jones left Hollywood and toured Great Britain for two years. He returned to the stage and toured with several off-Broadway musicals. Over the next twenty years, he worked the nightclub circuit, appeared in summer-stock and off-Broadway productions, and recorded extensively, including several short "songfests", meant to be fillers in the early days of TV.
In the mid 1960s the busy Jones managed to fit a few appearances on television and in movies into his busy theater, nightclub, and recording career. In 1971, he took on the role of Don Quixote in "Man of La Mancha", a role he would perform off and on for the next eight years. He also was very successful on the lecture circuit.
In 1982, the 75-year-old Jones cut yet another LP, his voice belying his age: as clear and vibrant as singers a third his age.
Jones continued to work for the remainder of his life, finishing a successful tour of Australia a few weeks before his death, at 84, in 1992.776 points- Actor
- Soundtrack
Who could forget Colin Clive's "It's Alive! It's Alive!" as he melted to the floor mumbling the same over and over in ecstasy after his success at animating the Monster in the first sound version of Frankenstein (1931). Film history - horror film history - but part of a short history for actor Colin Clive - he died at 37 years of age. The son of a British army colonel on assignment in France at the time of Colin's birth, Clive the younger might have been expected to follow an army career-his ancestor was Baron Robert Clive, founder of the British Indian Empire. But he became interested in theater instead. His acting talents progressed through the 1920s to sufficient degree to replace Laurence Olivier who was starring in the R. C Sherriff play "Journey's End" in London. The director was up-and-coming James Whale, who had also been working his way up in London stage and film work as a budding scene designer and director. Among his stage and entertainment acquaintances in London was Elsa Lanchester - the future bride of Frankenstein. When Olivier moved on to other stage work, the play moved to the Savoy Theater in London with Clive in the lead in 1928.
Whale was waiting for the opportunity to move onto Broadway and Hollywood films. The success of "Journey's End" gave Whale his break. Broadway called for the play with him as both director and scene designer. It opened in March of 1929 but with Colin Keith-Johnston in the lead. Nevertheless, Clive came to New York as well to await developments. Halfway through 1930, the play had ended, and Whale was contracted by Paramount as a dialog director. Things continued to unfold quickly. Whale was very soon called on to direct what would be the first British/American co-produced sound film, a movie version of the popular Journey's End (1930). Whale got Clive back as the lead-the laconic, alcoholic Capt. Stanhope. And Clive showed on screen what came out in his stage performances - a measured intensity to his character, bolstered by his unique cracked baritone voice - seemingly always on the edge of irritation. Clive's first picture then led to opportunities in both British and American films. But he got his first play on Broadway "Overture" in late 1930 which ended in January of 1931. Then it was back to London where he was prophetically cast with Lanchester in The Stronger Sex (1931).
As they say, what came next was film history. Whale was contracted by Universal where Dracula (1931) had just been a huge hit and the studio was looking for a quick follow up. Shelley's Frankenstein was optioned as the next 'horror' movie with Whale directing. Whale wanted Clive as Dr. Henry Frankenstein, and it all came together. Clive played the tortured legitimate doctor driven to macabre surgery and near insanity with over-the-top theatrics that would type him for the remainder of his short career.
The next few years he played both B leading and A supporting roles. Two apt examples were playing brooding but romantic Edward Rochester in an early Jane Eyre (1934) and playing a British officer in Clive of India (1935) in which Ronald Colman - not he - played his illustrious ancestor. Clive returned to Broadway for two plays in 1933 and 1934 and one more in the 1935-36 season. Then it was back to Universal for the "Bride" sequel of Frankenstein (1935) in which his Dr. Henry was somewhat more subdued. This was mostly to do with a broken leg suffered from a horseback riding accident. He is seen doing a lot of sitting or lying down because of it. Dour and sour seemed to be his trademark, bolstered that much more with the remainder of his films in which he was usually disturbed supporting characters.
His final two films were in early 1937 with the better known History Is Made at Night (1937) - awkward type-casting him as the world's most sour grapes ex-husband, Bruce Vail, who engineers a sure collision of his new steamship with any available iceberg in foggy weather to hopefully drown his ex-wife Jean Arthur and her romantic true love Charles Boyer. But the sinking ship is stabilized and the lovers are saved to live happily ever after. Ironically, but befitting such a deed in Hollywood ethics, Vail shoots himself.
Ironically, Clive, suffering from tuberculosis, furthered along by chronic alcoholism, died not long after in late June of 1937.761 points- Actor
- Stunts
- Producer
One of the great stars of American Westerns, and a very popular leading man in non-Westerns as well. He was born and raised in the surroundings of Hollywood and as a boy became interested in the movies that were being made all around. He studied acting at Pomona College and got some stage experience at the Pasadena Community Playhouse, where other future stars such as Randolph Scott, Robert Young, and Victor Mature would also get their first experience. He worked as an extra after graduation from the University of Southern California in 1928 and did some stunt work. In a rare case of an extra being chosen from the crowd to play a major role, McCrea was given a part in The Jazz Age. A contract at MGM followed, and then a better contract at RKO. Will Rogers took a liking to the young man (they shared a love of ranching and roping) and did much to elevate McCrea's career. His wholesome good looks and quiet manner were soon in demand, primarily in romantic dramas and comedies, and he became an increasingly popular leading man. He hoped to concentrate on Westerns, but several years passed before he could convince the studio heads to cast him in one. When he proved successful in that genre, more and more Westerns came his way. But he continued to make a mark in other kinds of pictures, and proved himself particularly adept at the light comedy of Preston Sturges, for whom he made several films. By the late Forties, his concentration focused on Westerns, and he made few non-Westerns thereafter. He was immensely popular in them, and most of them still hold up well today. He and Randolph Scott, whose career strongly resembles McCrea's, came out of retirement to make a classic of the genre, Sam Peckinpah's Ride the High Country (1962). Scott stayed retired thereafter; McCrea made a couple of appearances in small films afterwards, but was primarily content to maintain his life as a gentleman rancher. He was married for fifty-seven years to actress Frances Dee, who survived him.755 points- Actor
- Writer
- Soundtrack
Barton MacLane graduated from Wesleyan University, where he displayed a notable aptitude for sports, in particular football and basketball. Not surprisingly, his physical prowess led to an early role in The Quarterback (1926) with Richard Dix. MacLane once commented that, as an actor, he needed to have the physical strength to tear the bad guys "from limb to limb", if necessary. Ironically, it was usually Barton himself who was destined to be at the end of a hiding (when not getting shot, instead), typically as snarling henchmen, outlaws and other assorted dubious or abrasive types throughout most of his 40-year acting career. In fact, Barton became so typecast, that his name was for a time used proverbially, to generally describe a shouting, hard-nosed ruffian.
After training at the American Academy of Dramatic Arts, MacLane joined a stock company in Brooklyn. In 1927 he had his first part on Broadway, a brief moment as an assistant district attorney, in the melodrama "The Trial of Mary Dugan". He then played a small featured role as a police officer in "Subway Express" (1929-30), a drama enacted in the interior of a subway car. In mid-1932 MacLane tried his hand at writing his own starring vehicle for the stage, entitled "Rendezvous". While the play closed after just 21 performances, it led to a contract with Warner Brothers.
Barton had already appeared in bit roles for Paramount at their Astoria Studios, including The Marx Brothers' debut film The Cocoanuts (1929). He portrayed mobster Brad Collins in 'G' Men (1935) (with James Cagney), which set the tone for most of his future assignments. Brawny, with squinty eyes and a rasping voice, MacLane was the ideal surly tough guy, particularly suitable for westerns and the type of films noir Warner Brothers excelled at. He was often cast as cops, be they bent or honest. Some of his most representative performances include gangster Al Kruger in Bullets or Ballots (1936), which won him some of the best critical notices of his career; outlaw Jack Slade in Western Union (1941); crooked construction boss Pat McCormick, who gets beaten up by Humphrey Bogart and Tim Holt over past-due wages in The Treasure of the Sierra Madre (1948); hard-nosed cops Detective Dundy in The Maltese Falcon (1941) and Lt. Reece in Kiss Tomorrow Goodbye (1950). MacLane, on loan to Universal, also had a starring role in Prison Break (1938) as an innocent tuna fisherman who is framed for murder. He was prominent as a tough but sympathetic cop, foil to sleuthing girl reporter Glenda Farrell in the "Torchy Blaine" series of the mid- to late 1930s. In the 1960s Barton began to cultivate a good-guy image as Marshal Frank Caine in the NBC western series Outlaws (1960) as well as showing up in a small recurring role as Air Force Gen. Martin Peterson in I Dream of Jeannie (1965).
Barton was married to the actress Charlotte Wynters, who appeared with him in six of his films. When not on the set, the couple spent time on their 2000-acre cattle ranch in Madera County, California. For his work in television, Barton has a star on the Hollywood Walk of Fame.754 points- Actor
- Producer
- Director
Leslie Howard Steiner was born in London to Lilian (Blumberg) and Ferdinand "Frank" Steiner. His father was a Hungarian Jewish immigrant, and his English mother was of German Jewish and mostly English descent. Leslie went to Dulwich College, then worked as a bank clerk until the outbreak of World War I, when he went into the army. In 1917, diagnosed as shell-shocked, he was invalided out and advised to take up acting as therapy. In a few years, his name was famous on the stages of London and New York. He made his first movie in 1914: (The Heroine of Mons (1914)). He became known as the perfect Englishman (slim, tall, intellectual, and sensitive), a part that he played in many movies which set women to dreaming about him. His first sound movie came out in 1930: Outward Bound (1930), an adaptation of the stage play in which he starred. In Never the Twain Shall Meet (1931) and Smilin' Through (1932), he played the Englishman role to the hilt. His screen persona could perhaps best be summed up by his role as Sir Percy Blakeney in The Scarlet Pimpernel (1934), a foppish society gentleman.
It was Howard who insisted that Humphrey Bogart get the role of Duke Mantee in The Petrified Forest (1936), a role that Bogart had played in the stage production. As he became more successful, he also became quite picky about which roles he would do, and usually performed in only two films a year. In 1939, he played the character that will always be associated with him, that of Ashley Wilkes, the honor-bound, disillusioned intellectual Southern gentleman, in Gone with the Wind (1939).
However, war clouds were gathering over England, and he devoted all his energy on behalf of the war effort. He directed films, wrote articles and made radio broadcasts. He died in 1943, when the KLM plane he was in was shot down by German fighters over the Bay of Biscay.751 points- Actor
- Producer
- Director
The apocryphal biography of Fernand Contandin tells the invention of his artistic name Fernandel by his sister-in-law ("Voici le Fernand d'elles"). At the beginning of the thirties he became a typical actor of the comedy genre: popular, common, likable and with a concealed grain of drama. Marc Allégret was the director of his first successful film La meilleure bobonne (1931). He tried to work as director twice during World War II but was unsuccessful.749 points- Actor
- Producer
- Soundtrack
Fred MacMurray was likely the most underrated actor of his generation. True, his earliest work is mostly dismissed as pedestrian, but no other actor working in the 1940s and 50s was able to score so supremely whenever cast against type.
Frederick Martin MacMurray was born in Kankakee, Illinois, to Maleta Martin and Frederick MacMurray. His father had Scottish ancestry and his mother's family was German. His father's sister was vaudeville performer and actress Fay Holderness. When MacMurray was five years old, the family moved to Beaver Dam in Wisconsin, his parents' birth state. He graduated from Beaver Dam High School (later the site of Beaver Dam Middle School), where he was a three-sport star in football, baseball, and basketball. Fred retained a special place in his heart for his small-town Wisconsin upbringing, referring at any opportunity in magazine articles or interviews to the lifelong friends and cherished memories of Beaver Dam, even including mementos of his childhood in several of his films. In "Pardon my Past", Fred and fellow GI William Demarest are moving to Beaver Dam, WI to start a mink farm.
MacMurray earned a full scholarship to attend Carroll College in Waukesha, Wisconsin and had ambitions to become a musician. In college, MacMurray participated in numerous local bands, playing the saxophone. In 1930, he played saxophone in the Gus Arnheim and his Coconut Grove Orchestra when Bing Crosby was the lead vocalist and Russ Columbo was in the violin section. MacMurray recorded a vocal with Arnheim's orchestra "All I Want Is Just One Girl" -- Victor 22384, 3/20/30. He appeared on Broadway in the 1930 hit production of "Three's a Crowd" starring Sydney Greenstreet, Clifton Webb and Libby Holman. He next worked alongside Bob Hope in the 1933 production of "Roberta" before he signed on with Paramount Pictures in 1934 for the then-standard 7-year contract (the hit show made Bob Hope a star and he was also signed by Paramount). MacMurray married Lillian Lamont (D: June 22, 1953) on June 20, 1936, and they adopted two children.
Although his early film work is largely overlooked by film historians and critics today, he rose steadily within the ranks of Paramount's contract stars, working with some of Hollywood's greatest talents, including wunderkind writer-director Preston Sturges (whom he intensely disliked) and actors Humphrey Bogart and Marlene Dietrich. Although the majority of his films of the 30's can largely be dismissed as standard fare there are exceptions: he played opposite Claudette Colbert in seven films, beginning with The Gilded Lily (1935). He also co-starred with Katharine Hepburn in the classic, Alice Adams (1935), and with Carole Lombard in Hands Across the Table (1935), The Trail of the Lonesome Pine (1936) -- an ambitious early outdoor 3-strip Technicolor hit, co-starring with Henry Fonda and Sylvia Sidney directed by Henry Hathaway -- The Princess Comes Across (1936), and True Confession (1937). MacMurray spent the decade learning his craft and developing a reputation as a solid actor. In an interesting sidebar, artist C.C. Beck used MacMurray as the initial model for a superhero character who would become Fawcett Comics' Captain Marvel in 1939.
The 1940s gave him his chance to shine. He proved himself in melodramas such as Above Suspicion (1943) and musicals (Where Do We Go from Here? (1945)), somewhat ironically becoming one of Hollywood's highest-paid actors by 1943, when his salary reached $420,000. He scored a huge hit with the thoroughly entertaining The Egg and I (1947), again teamed with Ms. Colbert and today largely remembered for launching the long-running Ma and Pa Kettle franchise. In 1941, MacMurray purchased a large parcel of land in Sonoma County, California and began a winery/cattle ranch. He raised his family on the ranch and it became the home to his second wife, June Haver after their marriage in 1954. The winery remains in operation today in the capable hands of their daughter, Kate MacMurray. Despite being habitually typecast as a "nice guy", MacMurray often said that his best roles were when he was cast against type by Billy Wilder. In 1944, he played the role of "Walter Neff", an insurance salesman (numerous other actors had turned the role down) who plots with a greedy wife Barbara Stanwyck to murder her husband in Double Indemnity (1944) -- inarguably the greatest role of his entire career. Indeed, anyone today having any doubts as to his potential depth as an actor should watch this film. He did another stellar turn in the "not so nice" category, playing the cynical, spineless "Lieutenant Thomas Keefer" in the 1954 production of The Caine Mutiny (1954), directed by Edward Dmytryk. He gave another superb dramatic performance cast against type as a hard-boiled crooked cop in Pushover (1954).
Despite these and other successes, his career waned considerably by the late 1950s and he finished out the decade working in a handful of non-descript westerns. MacMurray's career got its second wind beginning in 1959 when he was cast as the dog-hating father figure (well, he was a retired mailman) in the first Walt Disney live-action comedy, The Shaggy Dog (1959). The film was an enormous hit and Uncle Walt green lighted several projects around his middle-aged star. Billy Wilder came calling again and he did a masterful turn in the role of Jeff Sheldrake, a two-timing corporate executive in Wilder's Oscar-winning comedy-drama The Apartment (1960), with Shirley MacLaine and Jack Lemmon -- arguably his second greatest role and the last one to really challenge him as an actor. Although this role would ultimately be remembered as his last great performance, he continued with the lightweight Disney comedies while pulling double duty, thanks to an exceptionally generous contract, on TV.
MacMurray was cast in 1961 as Professor Ned Brainerd in Disney's The Absent Minded Professor (1961) and in its superior sequel, Son of Flubber (1962). These hit Disney comedies raised his late-career profile considerably and producer Don Fedderson beckoned with My Three Sons (1960) debuting in 1960 on ABC. The gentle sitcom staple remained on the air for 12 seasons (380 episodes). Concerned about his work load and time away from his ranch and family, Fred played hardball with his series contract. In addition to his generous salary, the "Sons" contract was written so that all the scenes requiring his presence to be shot first, requiring him to work only 65 days per season on the show (the contract was reportedly used as an example by Dean Martin when negotiating the wildly generous terms contained in his later variety show contract). This requirement meant the series actors had to work with stand-ins and posed wardrobe continuity issues. The series moved without a hitch to CBS in the fall of 1965 in color after ABC, then still an also-ran network with its eyes peeled on the bottom line, refused to increase the budget required for color production (color became a U.S. industry standard in the 1968 season). This freed him to pursue his film work, family, ranch, and his principal hobby, golf.
Politically very conservative, MacMurray was a staunch supporter of the Republican Party; he joined his old friend Bob Hope and James Stewart in campaigning for Richard Nixon in 1968. He was also widely known one of the most -- to be polite -- frugal actors in the business. Stories floated around the industry in the 60s regarding famous hard-boiled egg brown bag lunches and stingy tips. After the cancellation of My Three Sons in 1972, MacMurray made only a few more film appearances before retiring to his ranch in 1978. As a result of a long battle with leukemia, MacMurray died of pneumonia at the age of eighty-three in Santa Monica on November 5, 1991. He was buried in the Holy Cross Cemetery in Culver City.748 points- Actor
- Writer
- Soundtrack
John Barrymore was born John Sidney Blyth on February 15, 1882 in Philadelphia, Pennsylvania. An American stage and screen actor whose rise to superstardom and subsequent decline is one of the legendary tragedies of Hollywood. A member of the most famous generation of the most famous theatrical family in America, he was also its most acclaimed star. His father was Maurice Blyth (or Blythe; family spellings vary), a stage success under the name Maurice Barrymore. His mother, Georgie Drew, was the daughter of actor John Drew. Although well known in the theatre, Maurice and Georgie were eclipsed by their three children, John, Lionel Barrymore, and Ethel Barrymore, each of whom became legendary stars. John was handsome and roguish. He made his stage debut at age 18 in one of his father's productions, but was much more interested in becoming an artist.
Briefly educated at King's College, Wimbledon, and at New York's Art Students League, Barrymore worked as a freelance artist and for a while sketched for the New York Evening Journal. Gradually, though, the draw of his family's profession ensnared him, and by 1905, he had given up professional drawing and was touring the country in plays. He survived the 1906 San Francisco earthquake, and in 1909, became a major Broadway star in "The Fortune Hunter". In 1922, Barrymore became his generation's most acclaimed "Hamlet", in New York and London. But by this time, he had become a frequent player in motion pictures. His screen debut supposedly came in An American Citizen (1914), though records of several lost films indicate he may have made appearances as far back as 1912. He became every bit the star of films that he was on stage, eclipsing his siblings in both arenas.
Though his striking matinee-idol looks had garnered him the nickname "The Great Profile", he often buried them under makeup or distortion in order to create memorable characters of degradation or horror. He was a romantic leading man into the early days of sound films, but his heavy drinking (since boyhood) began to take a toll, and he degenerated quickly into a man old before his time. He made a number of memorable appearances in character roles, but these became over time more memorable for the humiliation of a once-great star than for his gifts. His last few films were broad and distasteful caricatures of himself, though in even the worst, such as Playmates (1941), he could rouse himself to a moving soliloquy from "Hamlet". He died on May 29, 1942, mourned as much for the loss of his life as for the loss of grace, wit, and brilliance which had characterized his career at its height.748 points- Actor
- Producer
- Soundtrack
Tyrone Power was one of the great romantic swashbuckling stars of the mid-twentieth century, and the third Tyrone Power of four in a famed acting dynasty reaching back to the eighteenth century. His great-grandfather was the first Tyrone Power (1795-1841), a famed Irish comedian. His father, known to historians as Tyrone Power Sr., but to his contemporaries as either Tyrone Power or Tyrone Power the Younger, was a huge star in the theater (and later in films) in both classical and modern roles. His mother, Helen Emma "Patia" (née Reaume), (Mrs. Tyrone Power), was also a Shakespearean actress as well as a respected dramatic coach.
Tyrone Edmund Power, Jr., (also called Tyrone Power III) was born at his mother's home of Cincinnati, Ohio, in 1914. His ancestry included English, Irish, German, French Huguenot, and French-Canadian. A frail, sickly child, he was taken by his parents to the warmer climate of southern California. After his parents' divorce, he and his sister Anne Power returned to Cincinnati with their mother. There he attended school while developing an obsession with acting. Although raised by his mother, he corresponded with his father, who encouraged his acting dreams. He was a supernumerary in his father's stage production of 'The Merchant of Venice' in Chicago and held him as he died suddenly of a heart attack later that year.
Startlingly handsome, young Tyrone nevertheless struggled to find work in Hollywood. He appeared in a few small roles, then went east to do stage work. A screen test led to a contract at 20th Century Fox in 1936, and he quickly progressed to leading roles. Within a year or so, he was one of Fox's leading stars, playing in contemporary and period pieces with ease. Most of his roles were colorful without being deep, and his swordplay was more praised than his wordplay. He served in the Marine Corps in World War II as a transport pilot, and he saw action in the Pacific Theater of operations.
After the war, he got his best reviews for an atypical part as a downward-spiraling con-man in Nightmare Alley (1947). Although he remained a huge star, much of his postwar work was unremarkable. He continued to do notable stage work and also began producing films. Following a fine performance in Billy Wilder's Witness for the Prosecution (1957), Power began production on Solomon and Sheba (1959). Halfway through shooting, he suffered a heart attack during a dueling scene with George Sanders and died before reaching a hospital.
His three children, including his namesake, Tyrone William Power IV (known professionally as Tyrone Power Jr.), have all followed him in the family acting tradition.746 points- Actor
- Director
- Soundtrack
Don Ameche was a versatile and popular American film actor in the 1930s and '40s, usually as the dapper, mustached leading man. He was also popular as a radio master of ceremonies during this time. As his film popularity waned in the 1950s, he continued working in theater and some TV. His film career surged in a comeback in the 1980s with fine work as an aging millionaire in Trading Places (1983) and a rejuvenated oldster in Cocoon (1985).
Ameche was born Dominic Felix Amici in Kenosha, Wisconsin, to Barbara Edda (Hertel) and Felice Amici, a bartender.746 points- Actor
- Additional Crew
- Producer
Fred Astaire was born in Omaha, Nebraska, to Johanna (Geilus) and Fritz Austerlitz, a brewer. Fred entered show business at age 5. He was successful both in vaudeville and on Broadway in partnership with his sister, Adele Astaire. After Adele retired to marry in 1932, Astaire headed to Hollywood. Signed to RKO, he was loaned to MGM to appear in Dancing Lady (1933) before starting work on RKO's Flying Down to Rio (1933). In the latter film, he began his highly successful partnership with Ginger Rogers, with whom he danced in 9 RKO pictures. During these years, he was also active in recording and radio. On film, Astaire later appeared opposite a number of partners through various studios. After a temporary retirement in 1945-7, during which he opened Fred Astaire Dance Studios, Astaire returned to film to star in more musicals through 1957. He subsequently performed a number of straight dramatic roles in film and TV.744 points- Actor
- Soundtrack
Spencer Tracy was the second son born on April 5, 1900, to truck salesman John Edward and Caroline Brown Tracy in Milwaukee, Wisconsin. While attending Marquette Academy, he and classmate Pat O'Brien quit school to enlist in the Navy at the start of World War I. Tracy was still at Norfolk Navy Yard in Virginia at the end of the war. After playing the lead in the play "The Truth" at Ripon College he decided that acting might be his career.
Moving to New York, Tracy and O'Brien, who'd also settled on a career on the stage, roomed together while attending the Academy of Dramatic Arts. In 1923 both got nonspeaking parts as robots in "R.U.R.", a dramatization of the groundbreaking science fiction novel by Czech author Karel Capek. Making very little money in stock, Tracy supported himself with jobs as bellhop, janitor and salesman until John Ford saw his critically acclaimed performance in the lead role in the play "The Last Mile" (later played on film by Clark Gable) and signed him for The William Fox Film Company's production of Up the River (1930). Despite appearing in sixteen films at that studio over the next five years, Tracy was never able to rise to full film star status there, in large part because the studio was unable to match his talents to suitable story material.
During that period the studio itself floundered, eventually merging with Darryl F. Zanuck, Joseph Schenck and William Goetz's William 20th Century Pictures to become 20th Century-Fox). In 1935 Tracy signed with MGM under the aegis of Irving Thalberg and his career flourished. He became the first actor to win back-to-back Best Actor Oscars for Captains Courageous (1937) and, in a project he initially didn't want to star in, Boys Town (1938).
During Tracy's nearly forty-year film career, he was nominated for his performances in San Francisco (1936), Father of the Bride (1950), Bad Day at Black Rock (1955), The Old Man and the Sea (1958), Inherit the Wind (1960), Judgment at Nuremberg (1961), and Guess Who's Coming to Dinner (1967).
Tracy had a brief romantic relationship with Loretta Young in the mid-1930s, and a lifelong one with Katharine Hepburn beginning in 1942 after they were first paired in Woman of the Year by director George Stevens. Tracy's strong Roman Catholic beliefs precluded his divorcing wife Louise, though they mostly lived apart. Tracy suffered from severe alcoholism and diabetes (from the late 1940s), which led to his declining several tailor-made roles in films that would become big hits with other actors in those roles. Although his drinking problems were well known, he was considered peerless among his colleagues (Tracy had a well-deserved reputation for keeping co-stars on their toes for his oddly endearing scene-stealing tricks), and remained in demand as a senior statesman who nevertheless retained box office clout. Two weeks after completion of Stanley Kramer's Guess Who's Coming to Dinner (1967), during which he suffered from lung congestion, Spencer Tracy died of a heart attack.743 points- Producer
- Actor
- Director
One of the most popular child actors in film history, Child superstar Freddie Bartholomew was born Frederick Cecil Bartholomew in Harlesden, London, the son of Lilian May (Clarke) and Cecil Llewellyn Bartholomew. From age three, he grew up in the town of Warminster under the care of his father's unmarried sister Millicent. A precocious lad, Freddie was reciting and performing on stage at three years of age, and was soon singing and dancing as well. By age six he had appeared in his first movie, a short called Toyland (1930). Three other British film appearances and the recommendation of his teacher Italia Conti led him to be cast in the MGM film David Copperfield (1935), as the title character, resulting in a seven-year MGM contract and a move to Hollywood with his aunt. The illustrious, star-studded and highly successful David Copperfield (1935) made Freddie an overnight sensation, and he went on to star in a succession of high-quality films through 1937, including Anna Karenina (1935); Professional Soldier (1935); the riveting Little Lord Fauntleroy (1936); Lloyd's of London (1936); The Devil Is a Sissy (1936); and Freddie's biggest success, Captains Courageous (1937), opposite Spencer Tracy.
Following the success of Little Lord Fauntleroy (1936), Freddie's birth parents, who were strangers to him, stepped in and attempted for seven years to gain custody of him and his fortune. His aunt Millicent attempted to offset these legal expenses and payouts by demanding a raise in Freddie's MGM salary in 1937. Another slew of court cases ensued, this time over the MGM contract, and Freddie missed a critical year's work and some golden film opportunities. By the time he resumed acting work in 1938, he was well into his teens, and audiences grew less interested in literary period pieces as World War II erupted in Europe. Following Kidnapped (1938), many of his ten remaining films through 1942 were knock-offs or juvenile military films, and only two were for MGM. The best of the films after Kidnapped (1938) were Swiss Family Robinson (1940), Lord Jeff (1938), Listen, Darling (1938), and Tom Brown's School Days (1940). His salary soared to $2,500 a week making him filmdom's highest paid child star after Shirley Temple.
In 1943, Freddie enlisted in the U.S. Air Force for a year to work in aircraft maintenance, exiting with both a back injury and American citizenship.
The additional time away from the screen had not done him any favors, though, and efforts to revive his career on film were unsuccessful. His efforts performing in regional theaters and vaudeville did not spark a comeback either. Aunt Millicent left for England when Freddie married publicist Maely Daniele in 1946 against her wishes. Freddie toured a few months in Australia doing nightclub singing and piano, but when he returned to the U.S. in 1949 he switched to television, making a gradual move from performer to host to director, at New York station WPIX. In 1954, re-married to TV cookbook author Aileen Paul, he moved to Benton & Bowles advertising agency, as a television director and producer. He remarked at the time that the millions he had earned as a child had been spent mostly on lawsuits, many of which involved headline court battles between his parents and his aunt for custody of young Freddie and his money. "I was drained dry," he said.
He became vice president of television programming in 1964, directing and producing several prominent long-running soap operas. Bartholomew retired due to emphysema by the late 1980s, and eventually moved with his third wife Elizabeth to Florida, where he died in 1992, but not before being filmed in several lovely interview segments for the lengthy 1992 documentary, MGM: When the Lion Roars (1992).743 points- Actor
- Director
- Writer
Famed actor, composer, artist, author and director. His talents extended to the authoring of the novel "Mr. Cartonwine: A Moral Tale" as well as his autobiography. In 1944, he joined ASCAP, and composed "Russian Dances", "Partita", "Ballet Viennois", "The Woodman and the Elves", "Behind the Horizon", "Fugue Fantasia", "In Memorium", "Hallowe'en", "Preludium & Fugue", "Elegie for Oboe, Orch.", "Farewell Symphony (1-act opera)", "Elegie (piano pieces)", "Rondo for Piano" and "Scherzo Grotesque".743 points- Actor
- Soundtrack
Two-time Oscar-winner Melvyn Douglas was one of America's finest actors, and would enjoy cinema immortality if for no other reason than his being the man who made Greta Garbo laugh in Ernst Lubitsch's classic comedy Ninotchka (1939), but he was much, much more.
Melvyn Douglas was born Melvyn Edouard Hesselberg on April 5, 1901, in Macon, Georgia. His father, Edouard Gregory Hesselberg, a noted concert pianist and composer, was a Latvian Jewish emigrant, from Riga. His mother, Lena Priscilla (Shackelford), from Clark Furnace, Tennessee, was from a family with deep roots in the United States, and the daughter of Col. George Taliaferro Shackelford. Melvyn's father supported his family by teaching music at university-based conservatories. Melvyn dropped out of high school to pursue his dream of becoming an actor.
He made his Broadway debut in the drama "A Free Soul " at the Playhouse Theatre on January 12, 1928, playing the role of a raffish gangster (a part that would later make Clark Gable's career when the play was adapted to the screen as A Free Soul (1931) ). "A Free Soul" was a modest success, running for 100 performances. His next three plays were flops: "Back Here" and "Now-a-Days" each lasted one week, while "Recapture" lasted all of three before closing. He was much luckier with his next play, "Tonight or Never," which opened on November 18, 1930, at legendary producer David Belasco's theater. Not only did the play run for 232 performances, but Douglas met the woman who would be his wife of nearly 50 years: his co-star, Helen Gahagan. They were married in 1931.
The movies came a-calling in 1932 and Douglas had the unique pleasure of assaying completely different characters in widely divergent films. He first appeared opposite his future Ninotchka (1939) co-star Greta Garbo in the screen adaptation of Luigi Pirandello's As You Desire Me (1932), proving himself a sophisticated leading man as, aside from his first-rate performance, he was able to shine in the light thrown off by Garbo, the cinema's greatest star. In typical Hollywood fashion, however, this terrific performance in a top-rank film from a major studio was balanced by his appearance in a low-budget horror film for the independent Mayfair studio, The Vampire Bat (1933). However, the leading man won out, and that's how he first came to fame in the 1930s in such films as She Married Her Boss (1935) and Garbo's final film, Two-Faced Woman (1941). Douglas had shown he could play both straight drama and light comedy.
Douglas was a great liberal and was a pillar of the anti-Nazi Popular Front in the Hollywood of the 1930s. A big supporter of President Franklin D. Roosevelt, he and his wife Helen were invited to spend a night at the White House in November 1939. Douglas' leftism would come back to haunt him after the death of FDR.
Well-connected with the Roosevelt White House, Douglas served as a director of the Arts Council in the Office of Civilian Defense before joining the Army during World War II. He was very active in politics and was one of the leading lights of the anti-Communist left in the late 1930s and early 1940s. Helen Gahagan Douglas, who also was politically active, was elected to Congress from the 14th District in Los Angeles in 1944, the first of three terms.
Returning to films after the war, Douglas' screen persona evolved and he took on more mature roles, in such films as The Sea of Grass (1947) (Elia Kazan's directorial debut) and Mr. Blandings Builds His Dream House (1948). His political past caught up with him, however, in the late 1940s, and he - along with fellow liberals Edward G. Robinson and Henry Fonda (a registered Republican!) - were "gray-listed" (not explicitly blacklisted, they just weren't offered any work).
Then there was the theater. Douglas made many appearances on Broadway in the 1940s and 1950s, including in a notable 1959 flop, making his musical debut playing Captain Boyle in Marc Blitzstein's "Juno." The musical, based on Sean O'Casey's play "Juno and the Paycock", closed in less than three weeks. Douglas was much luckier in his next trip to the post: he won a Tony for his Broadway lead role in the 1960 play "The Best Man" by Gore Vidal.
Douglas' evolution into a premier character actor was completed by the early 1960s. His years of movie exile seemed to deepen him, making him richer, and he returned to the big screen a more authoritative actor. For his second role after coming off of the graylist, he won a Best Supporting Actor Oscar as Paul Newman's father in Hud (1963). Other films in which he shined were Paddy Chayefsky's The Americanization of Emily (1964), CBS Playhouse (1967) (a 1967 episode directed by George Schaefer called "Do Not Go Gentle Into That Good Night", for which he won a Best Actor Emmy) and The Candidate (1972), in which he played Robert Redford's father. It was for his performance playing Gene Hackman's father that Douglas got his sole Best Actor Academy Award nod, in I Never Sang for My Father (1970). He had a career renaissance in the late 1970s, appearing in The Seduction of Joe Tynan (1979), Being There (1979) and Ghost Story (1981). He won his second Oscar for "Being There."
Helen Gahagan Douglas died in 1980 and Melvyn followed her in 1981. He was 80 years old.743 points- Actor
- Soundtrack
An imposing Austrian import-turned-matinée idol on the silent screen, Hollywood actor Joseph Schildkraut went on to conquer talking films as well -- with Oscar-winning results. Inclined towards smooth, cunning villainy, his Oscar came instead for his sympathetic portrayal of Captain Alfred Dreyfus in The Life of Emile Zola (1937). His most touching role on both stage and screen would come as the Jewish father-in-hiding, Otto Frank, in The Diary of Anne Frank (1959).
Born on March 22, 1895, in Vienna, Austria, Joseph was the son of famed European/Yiddish stage actor Rudolph Schildkraut and his wife, the former Erna Weinstein. Nicknamed "Pepi" as a boy, the affectionate tag remained with him throughout his life. The family moved to Hamburg, Germany, when Joseph was 4. Joseph studied the piano and violin and grew inspired with his father's profession. On stage (with his father) from age 6, the family again relocated to Berlin where his father built a strong association with famed theatrical director Max Reinhardt.
Following Joseph's graduation from Berlin's Royal Academy of Music in 1911, the family migrated to America and settled in New York in 1912. His father continued making his mark in America's Yiddish theater while Joseph was accepted into the American Academy of Dramatic Arts. Offered lucrative theatre work back in Germany, Rudolf and family returned to Europe where Joseph began to grow in stature on the stage with the help of mentor Albert Bassermann. Joseph, like his father, would become well known not only for his prodigious talents on stage, but his marriage-threatening, Lothario-like behavior off-stage.
World War I and a call to the Austrian Army could have interrupted his career but his theatrical connections helped exempt him from duty. A thriving member of the Deutsches Volkstheatre (1913-1920), work became difficult to find in the post-war years so once again the family returned to America in 1920. Now an established stage player, Joseph was handed the title role in the Guild Theatre production (and American premiere) of "Liliom" opposite his leading lady of choice Eva Le Gallienne. It made stars out of both actors and both revisited their parts together on stage many years later in 1932.
Having appeared in a few silent pictures in Germany and Austria, Joseph was handed a prime role in the silent screen classic Orphans of the Storm (1921) starring the Gish sisters. This alone established him as an exotic matinée figure along the lines of a Valentino and Navarro. Preferring the stage, he nevertheless continued making films while conquering (on screen) Hollywood's loveliest of actresses, including Norma Talmadge in The Song of Love (1923), Seena Owen in Shipwrecked (1926), Marguerite De La Motte in Meet the Prince (1926), Bessie Love in Young April (1926) (which also co-starred father Rudolf), Lya De Putti in The Heart Thief (1927), and Jetta Goudal in The Forbidden Woman (1927). Most notable was his participation in the Cecil B. DeMille epics The Road to Yesterday (1925) and The King of Kings (1927), the latter co-starring as Judas Iscariot, with father Rudolf playing the high priest Caiaphas.
Joseph met his first wife, aspiring actress Elise Bartlett, during a herald run as "Peer Gynt" (1923) on Broadway. The impulsive romantic swept her off her feet, proposed to her on the day he met her, and married her the following week. The couple separated a few years later and his first wife fell to drink, dying at a fairly young age of an alcohol-related illness. His second marriage to Marie McKay was much happier and lasted almost three decades.
The actor's sturdy voice and strong command of the stage led to an easy transition into talking films. Among others, Joseph won the role of Gaylord Ravenal in the Kern and Hammerstein musical Show Boat (1929) opposite Laura La Plante as Magnolia. Despite his preference for the theater, Depression-era finances forced him to relocate to Los Angeles for more job security. Throughout the 1930s and 1940s, Joseph evolved into one of Hollywood's most distinctive character actors.
He played Wallace Beery's nemesis, General Pascal in MGM's Viva Villa! (1934), King Herod opposite Claudette Colbert in DeMille's Cleopatra (1934), and stole scenes as the cunning and underhanded Conrad, Marquis of Montferratin, in DeMille's The Crusades (1935). Joseph received his Oscar for his portrayal of Captain Dreyfus, a proud and robust French Jew wrongly convicted of treason and subsequently exiled to Devil's Island, in the biopic The Life of Emile Zola (1937). He soon became a Hollywood fixture appearing in everything from sumptuous costumers (Marie Antoinette (1938), The Three Musketeers (1939), The Man in the Iron Mask (1939), Monsieur Beaucaire (1946)), to action adventure (Lancer Spy (1937), Suez (1938)) to potent drama (The Rains Came (1939), The Shop Around the Corner (1940)). His film output slowed down considerably at the outbreak of WWII in 1941, however; nevertheless he continued to show vitality on the stage with notable successes in "Clash by Night" (1941) with Tallulah Bankhead, "Uncle Harry" (1942) and "The Cherry Orchard" (1944) (again with Eva Le Gallienne).
His Hollywood downfall happened when he signed his career away to the low budget Republic Pictures studio...for financial reasons. The films were unworthy of his participation and his roles secondary in nature to the storyline. His final Broadway appearance and greatest stage triumph would occur in 1955 as Otto Frank and he repeated his role on film but The Diary of Anne Frank (1959). In one of Hollywood's bigger missteps, he was not even nominated for an Academy Award. Sporadic appearances followed on stage and film -- his last movie role wasted on the trivial role of Nicodemus in the epic failure The Greatest Story Ever Told (1965). The film was released posthumously. On TV, however, he played Claudius to Maurice Evans' Hamlet in 1953 and filmed a memorable "Twilight Zone" episode in 1961.
Following his beloved second wife's death in 1961, he married one more time, in 1963, to a much younger woman named Leonora Rogers. Joseph died of a heart attack only months later at his New York City home on January 21, 1964, He was 68, almost the exact same age his father Rudolf was when he too suffered a fatal heart attack. Joseph was interred in the Beth Olam Mausoleum of the Hollywood Forever Cemetery in Los Angeles.742 points- Actor
- Soundtrack
John Boles was an American actor who worked prolifically in both leading and supporting roles for 28 years. He was born in Greenville, Texas and graduated from the University of Texas, where he had studied medicine, in 1917. Boles' parents wanted their son to continue with a career in the medical field, but after being selected to perform in an opera, he discovered his real love for acting and singing. In the meantime, he taught French and singing in a New York high school and worked as an interpreter for a group of students touring Europe. He's also notable for acting as a U.S. spy during World War I, in Bulgaria, Germany, and Turkey.
Boles moved to Hollywood in the 1920s to continue acting in stage musicals and operettas, which eventually led to MGM hiring him to appear in The Sixth Commandment (1924). After a three-year hiatus from Hollywood to focus on stage work, Boles returned to star opposite Gloria Swanson in the hit The Love of Sunya (1927). He wasn't able to show off his singing skills until the arrival of sound pictures not long after. He starred in a few lavish musicals in the early days of sound movies, notably The Desert Song (1929), Rio Rita (1929), and Song of the West (1930). In 1930, Boles signed a contract with Universal Pictures and starred in such musicals as King of Jazz (1930) and One Heavenly Night (1930) for the studio.
Boles continued to work in a number of both musical and non-musical parts throughout the 1930s. Notable roles include Victor Moritz in Frankenstein (1931); an engaged attorney who falls in love with Irene Dunne in The Age of Innocence (1934); another leading part opposite Swanson, this time as her bickering beau in Music in the Air (1934); a wealthy bachelor who adopts Shirley Temple in Curly Top (1935); Temple's Confederate officer father in The Littlest Rebel (1935); manipulator Rosalind Russell's husband in Craig's Wife (1936); and Barbara Stanwyck's husband in Stella Dallas (1937).
In 1943, Boles played the role of a colonel in the star-studded Thousands Cheer (1943). By this point, his acting career had declined. Boles' final part was in 1952, starring opposite Paulette Goddard in Babes in Bagdad (1952). He retired from the film industry shortly thereafter, and found a new career in the oil business.
Boles married Marcelite Dobbs in 1917, and the couple had two daughters: Frances and Janet. They remained married until he died of a heart attack on February 27, 1969 at the age of 73.735 points- Actor
- Director
- Second Unit Director or Assistant Director
If ever there was a Great Dane in Hollywood it was Jean Hersholt - and one of its great hearts as well. He was from a well-known Danish stage and entertainment family that had toured throughout Europe performing with young Jean as an essential cast member. He graduated from the Copenhagen Art School and continued expanding his stage experience and evidently decided early that he wanted to work in films. He did just two very early (1906) silent films in Germany. Hersholt emigrated from Denmark to the US while still a young man in 1913. Like many another European he came to America to seek further opportunities. Unlike many other European actors who appeared on Broadway in their early American careers, Hersholt never trod The Great White Way. He moved on to Hollywood in 1914 where the future of silent movies had taken the lead. He started as a movie extra then progressed into small feature player roles from 1915 through 1917. For that latter year he had no less than 17 bit parts.
By the 1920s his roles were substantial feature pieces, but most of these were as villains - in fact, a concoction of really vile characters. His theater experience serving him well, he played them so well that he much sought after by directors. Several of his 1920s films were landmarks of the silent era, an early one being The Four Horsemen of the Apocalypse (1921) which helped propel Rudolf Valentino into the stellar heights. Hersholt became popular and well paid. And certainly his signature silent role was the lead character of Marcus Schouler in the Erich von Stroheim great film Greed (1924), based on the novel McTeague. Stroheim, who spent far more time in front of the camera as an actor, was already well know as a task master and perfectionist director. He went through 42 reels of film for the picture - a numbing nine hours of screen time (shown only once at that length in a private studio screening). He cut the film to five hours, but it was further whittled to a bit over two for release, causing Stroheim to quip bitterly of the editor, "The only thing he had on his mind was his hat!" The powerful film was still there, but the massive editing resulted in whole roles disappearing, not to mention some telltale continuity. Stroheim's need for realism resulted in the climax of the movie to be shot in Death Valley. Still hot in the fall time, Hersholt endured like a veteran but required a hospital stay after sweating away 27 pounds.
Fortunately into the later 1920s Hersholt's roles expanded into a more realistic balance of characters-more virtuous roles - but still some shady fellows and especially the unsuspected, and thus surprising, guilty party in the ever popular murder mysteries. He worked for Samuel Goldwyn for about a year (1923-1924), for Paramount from 1927 through 1929, and several other studios during the period. By the end of the silent era, including those early primitive part mono features with small bits of audio music, sound effects, or dialog, Hersholt was a tried veteran of 75 films. His first all mono sound film was The Climax (1930) and despite a Germanic accent, he had a pleasant, mellow voice and a camera friendly presence that ensured him continued success. The variety ran the gamut from a sturdy supporting part in Grand Hotel (1932), to supporting Boris Karloff and a pretty hot Myrna Loy in The Mask of Fu Manchu (1932), and doing the same in Dinner at Eight (1933). Busy with nine movies in 1930, he also moved into people's living rooms on radio as well during that year.
Of course, for some time Hersholt was a mature actor-simply meaning he had many secondary roles as doctors and professors and nobles of many sorts and increasingly he appeared as benign fatherly types. Father roles of the 20s continued into the 30s - augmented with grandfather roles as well. He was the father of Sonja Henie in that charismatic champion ice skater's first Hollywood film One in a Million (1936), and he is perhaps best remembered as the embittered but deeply caring grandfather of Shirley Temple in the beloved Heidi (1937). But it was another role as a doctor that would provide a continuing vehicle for Hersholt and something of a fateful direction for the actor. The mid-30s were abuzz with the births of the Dionne Quintuplets in Canada. Hollywood jumped on it with usual alacrity, highlighting the story and the officiating obstetrician, Dr. Dafoe, who was translated into Dr. John Luke, in The Country Doctor (1936). Hersholt brought the right ingredients to the part of Luke and two years later a sequel followed, Five of a Kind (1938). Hersholt thought the character good medicine all round and was enthusiastic about a series of movies, but Dafoe himself blocked this idea. Nevertheless, in 1937 Hersholt had already germinated a new radio series to continue portraying a dedicated and kindly small town doctor. For a character name Hersholt turned to his most beloved author, his countryman, literary light Hans Christian Andersen, for a name-Dr. Christian. It was a hit and, and he convinced RKO Radio Pictures to bankroll a series of six Dr. Christian films (1939-41).
These latter and a few other films would mark the end of Hersholt's film career, but he was so very busy otherwise. His familiarity with Andersen was a scholarly avocation and labor of love, furthered by enthusiastic collecting of a library of important Andersen editions and related bibliography (which would later go to the Library of Congress). His English translation (see Trivia below) of the Andersen corpus of fairy tales (including his addition of several other Andersen stories from the author's private papers) remains perhaps the most comprehensive and best effort-even more so for Hersholt personal interpretation of Andersen. Hersholt would also write several articles about Andersen and edit The Andersen-Scudder-Letters (1948). Among other literary pursuits Hersholt also co-wrote a novel based on his Dr. Christian character.
It was in Hersholt's generous nature to give back something in gratitude for the acting career afforded him in Hollywood. His payment was rich indeed: the Motion Picture Relief Fund, the retirement home and hospital inspired by it and generated from it (see Trivia below), and the great charitable work that Hersholt would perform were paid back with two Academy Awards, the second after his tenure as president of the Academy. These special honors would be the seed of the Jean Hersholt Humanitarian Award (see Trivia below). But in 1956 Hersholt was dying of cancer - and yet that would not stop him from one more good turn. His beloved Dr. Christian character was going to TV (produced by the Ziv Studios), and he was asked to symbolically pass the baton to the new Dr. Christian, Macdonald Carey. With a tremendous effort, Hersholt, now withered to 95 pounds braved the first episode shooting, capping his life with one last magnificent example of his humanity.726 points- Actor
- Writer
- Soundtrack
Fondly remembered for his many deceptively meek, erudite characters played on film -- think Cosmo Topper, of the screwball classic Topper (1937) -- this short (5'6"), balding, highly distinguished actor was born in London, England on November 11,1887, to an architect and his wife. Young was educated at Sherborne College and University College London and trained as an actor at the Royal Academy of Dramatic Art (RADA).
Taking his first professional London stage bow in 1908, Roland moved to the United States a few years later, made his New York debut (in "Hindle Wakes") in 1912, and became a fixture on Broadway. Young performed equally well in droll farces and classic drama. His standout credits included productions of "John Gabriel Borkman" (1915), "The Seagull" (1916), "A Doll's House" (1918), "Rollo's Wild Oat," "Hedda Gabler" (1923), and "The Last of Mrs. Cheyney" (1927). He also joined the the Washington Square Players for a time.
Young became a U.S. citizen in 1918 and served in the Army during WW I. He appeared in a few silent films after his discharge, including Sherlock Holmes (1922), in which he played an amusingly hesitant Dr. Watson to John Barrymore's super-sleuth. His first talking film was the second male lead, Lord Montague, a near strangler victim, in the murder mystery The Unholy Night (1929) starring Ernest Torrence and directed by Lionel Barrymore. Young didn't come into his own in Hollywood until his presence in screwball comedies of the 1930s, for which he seemed tailor-made.
With his patrician air, tidy mustache, and fumbling-yet-dry delivery, Young did his share of restrained scene-stealing in New Moon (1930) as Count Strogoff; The Squaw Man (1931) as Sir John Applegate; David Copperfield (1935) as the villainous Uriah Heap; The Man Who Could Work Miracles (1936) as the timorous clerk with God-like powers; and Ruggles of Red Gap (1935), as the inebriated Earl of Burnstead who loses his valet Charles Laughton in a poker game. So good was he in Topper (1937), as the humorously beleaguered fall guy for ghostly duo Cary Grant and Constance Bennett, that he earned a supporting Oscar nomination, somewhat rare for comic outings.
Young moved fluidly between stage, film and radio assignments during the war-era years. While starring in a mid-1940s radio broadcast of "Topper" and appearing with Cornelia Otis Skinner in the 1945 serial "William and Mary," he also graced such theatre productions as "Ask My Friend Sandy" and "Another Love Story" and such films as Star Dust (1940), The Philadelphia Story (1940) (as lecherous rascal Uncle Willie), Greta Garbo's last film Two-Faced Woman (1941), The Flame of New Orleans (1941), Forever and a Day (1943) and the classic whodunnit And Then There Were None (1945).
He ended his career in a few TV anthologies ("The Chevrolet Tele-Theatre," "Studio One in Hollywood," "Lux Video Theatre" and "Betty Crocker Star Matinee"). His last few films were comedies and included a villainous role in the Bob Hope romantic musical The Great Lover (1949), a conman in the sentimental crimer St. Benny the Dip (1951) and the wealthy father of a newly-married countess whose husband/count quickly disappears in the romantic adventure That Man from Tangier (1953).
Married twice, Young died of natural causes at age 65, in New York City, on June 5, 1953, and was survived by his second wife, Patience DuCroz. In 1960, he was posthumously honored with two stars on the Hollywood Walk of Fame for his TV and film work.726 points- Niall MacGinnis is not as well known outside of Europe, but he was a wonderful character actor whose variety of roles matched his great gift for characterization and the look beyond just makeup that he projected. He was educated at Stonyhurst College and Trinity College, Dublin. He obtained a basic medical education which qualified him as a house (resident) surgeon during World War II in the Royal Navy. But after the war he decided to pursue acting. He worked in stage repertoire and stock companies and moved on to do significant stage work at the Old Vic Theatre in London, where John Gielgud was director and Shakespeare has a particular focus. MacGinnis had the burly look of a farm hand with a large head and curly hair falling away from a progressively receding hairline. He could portray a broad enough accent - or little at all, as the case might be - which could entail any part of the British Isles.
He moved on to film work in 1935 when British sound cinema was hitting its stride. He met young but well experienced director Michael Powell, who was eager to sell his script for an intriguing film to be shot on the furthest island from the north coast of the UK, Foulda. Alexander Korda was impressed and optioned the production of this script for The Edge of the World (1937), and MacGinnis got the nod as the central protagonist, Andrew Gray. Soon after in 1938, MacGinnis worked with Old Vic mentor and director Gielgud for a role in an early TV production of the play "Spring Meeting" (1938). As the war years ensued and before his own service, MacGinnis did several war effort films, most notably asked by Powell to take the role of a German U-boat cook in 49th Parallel (1941). The film sported a great ensemble cast, including Leslie Howard and Raymond Massey, and was shot in Canada where the drama unfolded, but it lacked the drive to keep the story vital. MacGinnis shone as the good-natured peasant who loved food and had no use for Nazi strictures and warring on the world. Luckily for Powell, the movie with its flag waving spirit was a huge hit on both sides of the Atlantic.
By the late 1940s, MacGinnis was donning historical garb for what would be some of his most familiar roles. Olivier remembered him and gave him small but standout roles in both his Henry V (1944) and Hamlet (1948). At about that time MacGinnis began associations with American film actors and production money coming over to Britain, the first being with Fredric March and his wife Florence Eldridge in Christopher Columbus (1949). He finally came to American shores with an appearance on Broadway in "Caesar and Cleopatra" in late 1951 through April of 1952. In 1952 back in England, he had a supporting role as the Herald in a screen version of the story of Thomas a' Becket titled Murder in the Cathedral (1951). Interestingly, he was also in the much better known and Hollywood-financed Becket (1964), as one of the four murderous barons. When MGM came back to England to follow up its previous visit and subsequent huge hit, Ivanhoe (1952), with Knights of the Round Table (1953), MacGinnis had a brief but again noticeable role as the Green Knight, bound by loss of combat to Robert Taylor as Ivanhoe. The next year brought one of his rare lead roles, an exemplary one in every measure. As Luther in Martin Luther (1953), MacGinnis joined a mostly British cast in a US/West German co-production and American director Irving Pichel with West German and historical scenery topped with a first rate script with American and German co-writers. It received two Oscar nominations.
Into the later 1950s, MacGinnis held to a steady diet of sturdy movie roles, usually supporting but always memorable because of his great acting skill. Historically, he went further back in time with several films of epic Ancient Greece, first as King Menelaus in Helen of Troy (1956), an American/Italian co-production with Robert Wise directing. That same year he stayed on the continent for another epic, this time Alexander the Great (1956) with American director Robert Rossen in an US/Spanish co-production that enlisted another first tier British cast, centered on box office idol Richard Burton, along with former co-star Freddy March. MacGinnis finally made it to Mount Olympus - that is, playing Zeus - in the rousing US/UK co-production of Jason and the Argonauts (1963), certainly best remembered for the stop motion animation magic of Ray Harryhausen.
Yet, MacGinnis' perhaps best remembered role - certainly to discriminating fans of horror/fantasy - was that of two-faced Dr. Julian Karswell, jocular magician - but deadly serious cult leader and demon conjurer (loosely based on the outrageous English social rebel and occultist Aleister Crowley). The film Curse of the Demon (1957) (the American cut was renamed "Curse of the Demon") was a stylishly atmospheric and convincingly spooky outing directed by Jacques Tourneur, the protégé of Hollywood veteran film producer Val Lewton, best known for Cat People (1942). Based on M.R. James' Edwardian ghost story, "Casting the Runes," the film is now considered a classic of the genre with MacGinnis, sporting a devilish goatee, having fun with his split personality but also effectively betraying his inward fear of the powers he has unleashed. He easily stole the show from co-star Dana Andrews, as the stubborn American psychologist almost done in by the demon he does not believe exists.
Through the 1960s and into the 1970s, MacGinnis kept to up a fairly steady stream of varied historical and contemporary movie roles, always noticeable, and in some of the high profile films of the period, including: Billy Budd (1962), The Spy Who Came in from the Cold (1965), and the Cinerama adventure Krakatoa: East of Java (1968). There were some TV spots as well to showcase his character-molding talents into the year of his passing to round out a body of over 75 screen appearances.723 points - John Laurie was a Scotsman who would play many character roles in his long career - a lot of Scotsmen to be sure - but an enthusiastic and skilled actor in nearly 120 screen roles. He was the son of a mill worker, and studied for a career in architecture which he indeed began. But with World War I he left his position to join the British army. After the war he set his sights in a different direction, training to become an actor by attending the Central School of Speech and Drama in London. His first stage play was in 1921. He honed his skills thereafter (from 1922 to 1939) principally as a Shakespearian actor at the Old Vic in London or at Stratford-upon-Avon - and later the Open Air in Regent's Park. But by 1930 he was giving time to films as well. His first movie was the Sean O'Casey play Juno and the Paycock (1929), one of Alfred Hitchcock's early sound efforts. With his craggy profile and arcing bulbous nose, and rather stern visage (though it could as quickly break into a broad smile), he was right for many a memorable character. Hitchcock made sure of that first off by calling on him again to play the dour, suspicious, and miserly farmer, John Crofter, in The 39 Steps (1935). Laurie became a good friend of another Shakespearean, Laurence Olivier, and the two, Olivier as a lead, were in Hungarian director/producer Paul Czinner's As You Like It (1936). The year 1937 was a busy one, with six films, the most important giving him one of his few leading roles. This was director/screen writer Michael Powell's intriguing The Edge of the World (1937), doubly important in that it was the film that sold Powell to producers like Alexander Korda. The film was shot on location on the remote Shetland isle of Foula, the furthest point of Britain. It dealt with the impact of the modern world on the lives of the inhabitants of an economically decaying island. Into 1938 and 1939 Laurie was involved in British experimental TV movies, that medium to be revisit later frequently. In 1939 he was taped by Alexander Korda for his classic film production of The Four Feathers (1939) in which Laurie, who could fit his Scots voice to any part, played the zealous Mahdi (the Khalifa). He is hardly to be recognized in character.
During the war Olivier was planning one of the important morale movies of World War II; his Henry V (1944), and Laurie was asked to play a memorable Capt. Jamie. Olivier also called on him for his two other Shakespeare ventures: Hamlet (1948) and Richard III (1955). As any good character actor, Laurie could play comedy as well and set a number of roles to that end into the 1940s. He and Roger Livesey were cast in Emeric Pressburger and Powell's first color film, The Life and Death of Colonel Blimp (1943). And Laurie was a jubilant John Campbell in the Powell/Pressburger wonderful and thoughtful comedy of more insular Scots life, I Know Where I'm Going! (1945) with a delightful young Wendy Hiller and worldly-wise Livesey.
Through the remainder of the decade and into the 1950s, Laurie's face showed up in a variety of films - with greater frequency as assorted Scotsmen-comedic and otherwise - and further down the credits list of supporting actors. He was familiar in the decade invasion to the UK of American co-productions, such as Disney's Treasure Island (1950) and Kidnapped (1960). And he even trod the uncertain path of a few sci-fi films - that shall remain nameless here. But he was certainly always busy - when all told - the actor's foremost blessing. Television drama and series gave him better opportunities for a veteran actor, beginning with a Henry V (1953) where he played the comic role of Pistol. Along with some BBC TV theater (more Shakespeare and some American playhouse as well) and sporadic serials, he had a stint on the long-running BBC children's reading program "Jackanory". And he is probably best remembered as the dour James Frazer on the popular "Dad's Army" series (1968-1977). But one of his last and most touching performance was simply being his good-natured self - 80 years old but still a vibrant man with his Scots burr - when he accompanied Powell back to dramatically isolated Foula for the director's short documentary Return to the Edge of the World (1978) (included with the 2003 DVD release of the 1937 movie). There was a bit of staging by Powell. But Laurie's animated face was a picture of profound humanity, as - with a shade of theatrics when appropriate - he remembered the shoot and with sincere joy renewed acquaintances with the inhabitants, as if he himself had returned once more to his native heath. A bonnie old actor indeed!723 points - Actor
- Writer
- Director
Stan Laurel came from a theatrical family, his father was an actor and theatre manager, and he made his stage debut at the age of 16 at Pickard's Museum, Glasgow. He traveled with Fred Karno's vaudeville company to the United States in 1910 and again in 1913. While with that company he was Charles Chaplin's understudy, and he performed imitations of Chaplin. On a later trip he remained in the United States, having been cast in a two-reel comedy, Nuts in May (1917) (not released until 1918). There followed a number of shorts for Metro, Hal Roach Studios, then Universal, then back to Roach in 1926. His first two-reeler with Oliver Hardy was 45 Minutes from Hollywood (1926). Their first release through MGM was Sugar Daddies (1927) and the first with star billing was From Soup to Nuts (1928). Their first feature-length starring roles were in Pardon Us (1931). Their work became more production-line and less popular during the war years, especially after they left Roach and MGM for Twentieth Century-Fox. Their last movie together was The Bullfighters (1945) except for a dismal failure made in France several years later (Utopia (1950)). In 1960 he was given a special Oscar "for his creative pioneering in the field of cinema comedy". He died five years later.721 points- Actor
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Although his parents were never in show business, as a young boy Oliver Hardy was a gifted singer and, by age eight, was performing with minstrel shows. In 1910 he ran a movie theatre, which he preferred to studying law. In 1913 he became a comedy actor with the Lubin Company in Florida and began appearing in a long series of shorts; his debut film was Outwitting Dad (1914). He appeared in he 1914-15 series of "Pokes and Jabbs" shorts, and from 1916-18 he was in the "Plump and Runt" series. From 1919-21 he was a regular in the "Jimmy Aubrey" series of shorts, and from 1921-25 he worked as an actor and co-director of comedy shorts for Larry Semon.
In addition to appearing in two-reeler comedies, he found time to make westerns and even melodramas in which he played the heavy. He is most famous, however, as the partner of British comic Stan Laurel, with whom he had played a bit part in The Lucky Dog (1921). in the mid-1920s both he and Laurel wee working for comedy producer Hal Roach, although not as a team. In a moment of inspiration Roach teamed them together, and their first film as a team was 45 Minutes from Hollywood (1926). Their first release for Roach through MGM was Sugar Daddies (1927) and the first with star billing was From Soup to Nuts (1928). They became a huge hit as a comedy team, and after several years of two-reelers, Roach decided to star them in features, their first of which was Pardon Us (1931).
They clicked with audiences in features, too, and starred in such classics as Way Out West (1937), March of the Wooden Soldiers (1934) and Block-Heads (1938). They eventually parted ways with Roach and in the mid-1940s signed on with Twentieth Century-Fox.
Unfortunately, Fox did not let them have the autonomy they had at Roach, where Laurel basically wrote and directed their films, though others were credited, and their films became more assembly-line and formulaic. Their popularity waned and less popular during the war years, and they made their last film for Fox in 1946.
Several years later they made their final appearance as a team in a French film, a troubled and haphazard production eventually, after several name changes, called Utopia (1950), generally regarded to be their worst film. Hardy appeared without Laurel in a few features, such as Zenobia (1939) with Harry Langdon, The Fighting Kentuckian (1949) in a semi-comedic role as a frontiersman alongside John Wayne and Riding High (1950), in a cameo role. He died in 1957.721 points- Actor
- Director
- Special Effects
Handsome, athletic leading man Jon Hall was the son of actor Felix Locher and a Tahitian princess. Hall was married three times, two of which were to entertainers: singer Frances Langford and actress Raquel Torres. His third wife was a psychiatrist. They married in 1969 and lived in Los Angeles with her two sons and a daughter.712 points- Actor
- Writer
- Director
The son of a sausage-maker, Michel Simon was conscripted into the Swiss Army at the start of World War I, but was thrown out through a combination of tuberculosis and general insubordination. He was variously a boxer, photographer, general handyman and right-wing anarchist, finally becoming a stage actor in Geneva in 1920. His reputation soon grew, and he moved to Paris in 1923, appearing in his first film in 1925 (the same year he played Boudu for the first time on stage). With the coming of sound, Simon became firmly established as one of France's outstanding character actors, doing unforgettable work for Jean Renoir (La Chienne (1931), Boudu Saved from Drowning (1932)), Jean Vigo (L'Atalante (1934)) and Marcel Carné (Port of Shadows (1938), Bizarre, Bizarre (1937)). In the 1950s he worked less frequently, partly thanks to an accident involving makeup dye that paralyzed part of his body and face. Despite this, he still managed to appear in films right up to his death in 1975.709 points- Actor
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- Soundtrack
Another in the long line of dramatically handsome foreign imports who made an immediate impact on WWII Hollywood was debonair French actor Jean-Pierre Aumont. The epitome of grace and sophistication, the stylish leading man went on to have a long and respected career on stage, film and TV, both here and abroad.
Aumont was born Jean-Pierre Philippe Salomons on January 5, 1911 (some sources list 1909) in Paris, France, to Suzanne (Cahen), an actress, and Alexandre Abraham Salomons, a well-to-do department store executive. His brother, François Villiers (né Francois Salomons), went on to become a film writer/director. His father was a Dutch Jew and his mother was from a French Jewish family; he was of both Ashkenazi and Sephardi ancestry. Jean-Pierre was transferred from various prep schools before enrolling at the Paris Conservatory of Dramatic Art at the age of 16. Run by the renowned Louis Jouvet, young Aumont's first two film roles were prime roles in Jean de la Lune (1931) and Échec et mat (1931). He then went on to appear strongly in a number of Gallic films. He also made an impressive theater debut playing the role of Oedipus in Jean Cocteau's "La Machine Infernale" at the Comedie Champs-Elysees in 1934, which set up a long and lucrative tenure on the stage. Splitting his time between live performances and film-making opposite such lovelies as Simone Simon, Danielle Darrieux and Annabella), Aumont served with the French Third Mechanized Division for nearly a year (1939-1940) and earned a medal of distinction for his valour (Croix de Guerre). Two of his finest screen roles came just prior to this: 'Marcel Carne''s farcical comedy Bizarre, Bizarre (1937) starring mentor Louis Jouvet, and the romantic drama Hotel du Nord (1938) opposite the lovely Annabella and co-starring Jouvet again.
Aumont arrived in America barely speaking English in 1942 and only a few days later was "discovered" by stage legend Katharine Cornell, making his American debut in her production of "Rose Burke". During the play's Los Angeles engagement, he was signed by MGM for films and made a noticeable debut as Captain Pierre Matard in the espionage war picture Assignment in Brittany (1943) co-starring the tragic Susan Peters. Classily promoted as an up-and-coming Jean Gabin, the lithe, handsome, blue-eyed blond captured the admiration of the American public with his Charles Boyer-like charm and charisma. His second American film was the equally successful The Cross of Lorraine (1943), a dramatic Stalag 17-like story of French POW's held in a German war camp.
The lovely Technicolor siren Maria Montez, known for her popular (and campy) WWII escapism films at Universal, quickly caught his eye and the couple married in 1943 after only a three-month courtship. An earlier marriage to French's Blanche Montel had ended in divorce in 1940, well before his arrival in America. Aumont again interrupted his burgeoning acting career by serving with the Free French forces in North Africa and was again awarded a medal (Legion of Honor) for his bravery. He was twice wounded during his active years of service.
The French actor returned to Hollywood films after the war co-starring with Ginger Rogers in the comedy Heartbeat (1946) and appearing as composer Nikolai Rimsky-Korsakov in Universal's Song of Scheherazade (1947). The reception to both were lukewarm and Aumont decided to return to France with his wife (whose career was now in decline), and his daughter (who was born in 1946 and grew up to become the actress Tina Aumont). Seeking to rediscover his earlier glory in European films and the theatre, he also began writing plays. Now and then he would return to the American soil and appeared on Broadway in 1949 with his work "Figure of a Girl," which was retitled "My Name Is Aquilon" by the time it arrived on the Great White Way. While it co-starred the embraceable Lilli Palmer, who was also making her Broadway debut, the play itself was not as embraced.
On the international film scene, Aumont appeared with wife Maria in such uninspired offerings as the United Artist escapist fare Siren of Atlantis (1949), the French crime drama Wicked City (1949) [Wicked City] and the Italian adventure La vendetta del corsaro (1951)_ [The Revenge of the Pirates], the last-mentioned proving to be the last for the fetching Ms. Montez. The 39-year-old star tragically drowned in September of 1951 after her hot mineral salt bath triggered a heart seizure.
After a period of grieving, Aumont continued transcontinentally, but rather unspectacularly, with acting parts that seemed hardly challenging. He cavorted with Paulette Goddard in the mediocre action adventure Charge of the Lancers (1954); appeared among an international cast in the spectacle Napoleon (1955); co-starred rather stiffly opposite Jean Simmons in the glossy "sudspenser" Hilda Crane (1956); was overshadowed by Eleanor Parker, who paled next to Garbo in the remake of Garbo's "The Painted Veil" entitled The Seventh Sin (1957); and, played a cameo as the doomed Louis XVI in the US-based John Paul Jones (1959) co-starring wife Marisa. On a more positive note, he, Mel Ferrer and the ever-enchanting Leslie Caron were wonderful in MGM's touching musical Lili (1953). Aumont also fared much better in his 1950s televised appearances of classic works, notably "Arms and the Man" and "Crime and Punishment".
Following a torrid 1955 romance with Grace Kelly (whom, as we all know, went on to marry her Prince), the actor met and married lovely Italian actress Marisa Pavan, the sister of the late Pier Angeli, in 1956, and had two sons, Jean-Claude and Patrick, by her. Troubled by his erratic output and the uneventful film roles offered, which included those in The Enemy General (1960), The Devil at 4 O'Clock (1961) and Five Miles to Midnight (1962) [Five Miles to Midnight], Aumont wisely refocused on the theatre and his playwriting skills. Stage performances included "The Heavenly Twins" and "A Second String" (both on Broadway), the title role in "The Affairs of Anatol", "Murderous Angels" and appearances in the musicals "Tovarich" with Vivien Leigh (on Broadway), "Jacques Brel Is Alive and Well and Living in Paris," "South Pacific" (as the debonair Emile DeBecque), and "Gigi" with wife Marisa. The couple also went on to form a warmly-received nightclub act in New York.
For the remainder of his career, Aumont remained the ever-charming and worldly continental, vacillating between the stage ("Camino Real," "Private Lives," "The Sound of Music" and "Tiger at the Gates"); international films (Castle Keep (1969), Catherine & Co. (1975), Mahogany (1975), Nana (1983), Sweet Country (1987), Becoming Colette (1991) and a pair of Merchant/Ivory films Jefferson in Paris (1995) and The Proprietor (1996)): and classy TV fare (The Memory of Eva Ryker (1980), Melba (1988), A Tale of Two Cities (1989)). Some of the actor's finest movie roles in years occurred in the 1970s with the excellent Day for Night (1973) [Day for Night] and Cat and Mouse (1975) [Cat and Mouse].
The distinguished actor/playwright went awardless throughout his cinematic career but this glaring oversight was finally rectified in the form of the cross of Commandeur des Arts et des Lettres in 1991 and an honorary César Award in 1992. He died in his native country of a heart attack a few weeks after his 90th birthday in 2001.709 points- Actor
- Producer
- Soundtrack
Although he came to be called "Hollywood's Irishman in Residence"--and, along with good friends James Cagney, Allen Jenkins, Frank McHugh and a few others were called "The Irish Mafia"--and he often played Irish immigrants, Pat O'Brien was US-born and -bred. As a young boy the devoutly Roman Catholic O'Brien considered entering the seminary to study for the priesthood, but although he often played a Father, Monsignor or Bishop, he never actually followed through and entered the seminary. And although never a policeman, in movies he often wore the cop's badge and, although in real life he had no discernible Irish accent, he could pour on the "brogue" when the role called for it.
Pat O'Brien excelled in roles as beneficent men but could also give convincing performances as wise guys or con artists. He was a most popular film star during the 1930s and 1940s. Over almost five decades, he co-starred in nine films with Cagney, including his own screen swansong, Ragtime (1981).708 points- Actor
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- Director
A portly, somewhat grubby and bohemian-looking character star, Hugo Haas was one of the most celebrated Czech actors back in the 30s, a comic star who only grew in stature as he delved creatively into writing, directing and producing. The Nazi invasion forced him to leave his beloved country and come to the United States. Like a fish out of water, he had to start small. Beginning as an announcer on US broadcasts to the Eastern Europe underground, he also offered his talents as a narrator of propaganda films.
After the war, Haas revitalized his acting career with flashy, thick-accented support roles, often as a slick, seedy villain in lavish costumers. He enjoyed a certain amount of popularity and with the money he made, he began financing his own independent films in the 50s, taking total creative control with almost a Svengali-like obsession.
This time around, however, there was little of the adulation he had reaped so easily back in his homeland. With such lurid titles as Pickup (1951), Thy Neighbor's Wife (1953), and Bait (1954), these vehicles smacked hard of sensationalism and he and his films were generally dismissed. Many were badly acted and obviously cheap and cheesy in production values. A recurring "Blue Angel"-styled theme appeared in many of Hugo's starring vehicle whereas an older respectable man was seduced and ruined by the charms of a much younger hussy (blonde, busty bombshells such as Cleo Moore, Beverly Michaels, and (former "Miss Universe") Carol Morris.
Haas' reputation was so tainted by these so-called vanity projects that he was quickly dubbed the "foreign Ed Wood", which was unfair given his earlier reputation. Haas was planning to return to his native land in 1968 when the Russians seized control. Profoundly disheartened and depressed by the current state of affairs in his country, the homesick actor, who also suffered from an asthmatic condition, died shortly after of heart failure. He should be better remembered today than he is. He is solid proof that Hollywood has a way of sometimes robbing a person of his artistic creativity or integrity.708 points- Actor
- Writer
- Soundtrack
Zdenek Stepánek was born on 22 September 1896 in Tvorsovice, Bohemia, Austria-Hungary [now Czech Republic]. He was an actor and writer, known for Josef Kajetán Tyl (1926), Román hloupého Honzy (1927) and Jan Hus (1955). He was married to Elena Hálková and Sona Grossová. He died on 20 June 1968 in Prague, Czechoslovakia [now Czech Republic].708 points- Actor
- Director
- Writer
Robert Donat's pleasant voice and somewhat neutral English accent were carefully honed as a boy because he had a stammer and took elocution lessons starting at age 11 to overcome the impediment. It was not too surprising that freedom from such a vocal embarrassment was encouragement to act. His other handicap, acute asthma, did not deter him. At the age of 16 he began performing Shakespeare and other classic roles in a number of repertory and touring companies throughout Britain. In 1924 he joined Sir Frank Benson's repertory company, and later he was with the Liverpool Repertory Theater.
His work was finally noticed by Alexander Korda, who gave him a three-year film contract. Three minor films were followed by his role as Katherine Howard's lover, Thomas Culpepper, in the hit The Private Life of Henry VIII (1933). Donat's style of acting, whether comic or dramatic, was usually reserved, with the subtleties of face and voice being his talents to complement the role. A top draw in Britain, he went to Hollywood for The Count of Monte Cristo (1934), but he did not care for the Hollywood scene--the fishbowl lifestyle of the movie star. "Cristo" gave him the opportunity for Captain Blood (1935), but he eventually declined. (With a nod to hindsight, it is hard to think of anyone but a fresh-faced Flynn doing the role.) Although he would have contracts with MGM, Warner Bros. and RKO through the remainder of the 1930s, he begged off many a film role or broke commitments, ostensibly because of health problems, though, along with being finicky about roles, he was also such a conscientious actor that lack of confidence sometimes stymied his forward progress.
Hollywood usually had to shoot in England if it wanted him badly enough. And that was not a problem after the box office reception given The 39 Steps (1935), the big hit for Alfred Hitchcock. There was a hint of whimsy in Donat's face that worked especially well with the sophisticated comedic elements that crept into several of his dramatic roles. His portrayal of individualist Canadian Richard Hannay--which registered with North Americans both above and below the 49th parallel--in "Steps" was the first of such popular characters. Some of Hitch's famous on-the-set practical jokes ensued on the first day of shooting "Steps." The first scene was the escape on the moors from the master spy's henchmen by Donat and Madeleine Carroll handcuffed together. Donat and Carroll had not met before this, and Hitchcock handcuffed them together hours before filming so that they could get very well acquainted. He insisted he had misplaced the key when in fact he had slipped it to a studio security officer for safekeeping.
Hitchcock attempted to land Donat for three other roles, Sabotage (1936) and Secret Agent (1936) and Rebecca (1940), but illness, commitments, and more illness, respectively, supposedly kept Donat from accepting each. Hollywood would be treated in kind, for Donat was more dedicated to stage work. Hollywood did get him for The Citadel (1938), for which he was nominated for a Best Actor Oscar. He won the Oscar the next year for perhaps his best known role in Goodbye, Mr. Chips (1939) (MGM's with Greer Garson). Since 1939 was one of the most competitive film years in Hollywood history, Donat's reward for his mild Mr. Chipping was something of a stunner. This was the year of Gone with the Wind (1939), and Clark Gable as Rhett Butler seemed a shoo-in for best actor. But there is something of a myth that since both pictures were from MGM and "Wind" had so many nominations (including best actor, actress, and picture), MGM head and strongman Louis B. Mayer used his weight to spread the wealth toward "Chips".
Unlike other British actors who came to work in America during World War II, Donat stayed in Britain. He did mostly theater but also some British films--only four--with one for Korda and one for Carol Reed. Only six more films were allotted Donat after the war and into the 1950s, all but one British productions. He starred, directed and co-wrote The Cure for Love (1949) and starred in The Magic Box (1951), a well-crafted and delightful (if a bit fictionalized) salute to the history of the British film industry. By 1955, all of Donat's acting efforts required a bottle of oxygen kept off stage and at the ready as his health continued to turn toward the worse. The Inn of the Sixth Happiness (1958), a Twentieth Century Fox production shot in the UK, was Donat's final film. His fragility was poignantly obvious on screen, and he died shortly after the film was finished. He received a posthumous Special Citation from the USA National Board of Review and was nominated for a Best Actor Golden Globe. It was a career for Robert Donat that should have gone on, yet it was filled with many notable screen memories just the same.706 points