The Best Actor 1953
From my list: https://www.imdb.com/list/ls027097866/
List activity
0 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
54 people
- Actor
- Soundtrack
Masayuki Mori was born on 13 January 1911 in Sapporo, Hokkaido, Japan. He was an actor, known for Rashomon (1950), The Bad Sleep Well (1960) and The Idiot (1951). He died on 7 October 1973.1539 points- Actor
- Writer
- Stunts
Edward Montgomery Clift (nicknamed 'Monty' his entire life) was born on October 17, 1920 in Omaha, Nebraska, just after his twin sister Roberta (1920-2014) and eighteen months after his brother Brooks Clift. He was the son of Ethel "Sunny" Anderson (Fogg; 1888-1988) and William Brooks Clift (1886-1964). His father made a lot of money in banking but was quite poor during the depression. His mother was born out of wedlock and spent much of her life and the family fortune finding her illustrious southern lineage and raising her children as aristocrats.
At age 13, Monty appeared on Broadway ("Fly Away Home"), and chose to remain in the New York theater for over ten years before finally succumbing to Hollywood. He gained excellent theatrical notices and soon piqued the interests of numerous lovelorn actresses; their advances met with awkward conflict. While working in New York in the early 1940s, he met wealthy former Broadway star Libby Holman. She developed an intense decade-plus obsession over the young actor, even financing an experimental play, "Mexican Mural" for him. It was ironic his relationship with the bisexual middle-aged Holman would be the principal (and likely the last) heterosexual relationship of his life and only cause him further anguish over his sexuality. She would wield considerable influence over the early part of his film career, advising him in decisions to decline lead roles in Sunset Boulevard (1950), (originally written specifically for him; the story perhaps hitting a little too close to home) and High Noon (1952).
His long apprenticeship on stage made him a thoroughly accomplished actor, notable for the intensity with which he researched and approached his roles. By the early 1950s he was exclusively homosexual, though he continued to hide his homosexuality and maintained a number of close friendships with theater women (heavily promoted by studio publicists).
His film debut was Red River (1948) with John Wayne quickly followed by his early personal success The Search (1948) (Oscar nominations for this, A Place in the Sun (1951), From Here to Eternity (1953) and Judgment at Nuremberg (1961)). By 1950, he was troubled with allergies and colitis (the U.S. Army had rejected him for military service in World War II for chronic diarrhea) and, along with pill problems, he was alcoholic. He spent a great deal of time and money on psychiatry.
In 1956, during filming of Raintree County (1957), he ran his Chevrolet into a tree after leaving a party at Elizabeth Taylor's; it was she who saved him from choking by pulling out two teeth lodged in his throat. His smashed face was rebuilt, he reconciled with his estranged father, but he continued bedeviled by dependency on drugs and his unrelenting guilt over his homosexuality.
With his Hollywood career in an irreversible slide despite giving an occasional riveting performance, such as in Stanley Kramer's Judgment at Nuremberg (1961), Monty returned to New York and tried to slowly develop a somewhat more sensible lifestyle in his brownstone row house on East 61st Street in Manhattan. He was set to play in Taylor's Reflections in a Golden Eye (1967), when he died in the early morning hours of July 23, 1966, at his home at age 45. His body was found by his live-in personal secretary/companion Lorenzo James, who found Clift lying nude on top of his bed, dead from what the autopsy called "occlusive coronary artery disease." Clift's last 10 years prior to his death from his 1956 car accident were called the "longest suicide in history" by famed acting teacher Robert Lewis.1530 points- Actor
- Director
- Producer
Oscar-winner Edmond O'Brien was one of the most respected character actors in American cinema, from his heyday of the mid-1940s through the late 1960s. Born on September 10, 1915, in the New York City borough of Brooklyn, O'Brien learned the craft of performance as a magician, reportedly tutored by neighbor Harry Houdini. He took part in student theatrics in high school and majored in drama at Fordham University, dropping out after six months. He made his Broadway debut at the age of 21 in 1936 and, later that year, played "The Gravedigger" in the great Shakespearean actor John Gielgud's legendary production of "Hamlet". Four years later, he would play 'Mercutio' to the 'Romeo' of another legendary Shakespearean, Laurence Olivier, in Olivier's 1940 Brodway production of "Romeo & Juliet".
O'Brien worked with another magician, Orson Welles, in the Mercury Theater's production of "Julius Caesar", appearing as 'Mark Antony'. He would later play 'Casca' in Joseph L. Mankiewicz's film of the play, Julius Caesar (1953).
Although it has been stated that he made his debut as an uncredited extra in the 1938 film, Prison Break (1938), the truth is that his stage work impressed RKO boss Pandro S. Berman, who brought him to Hollywood to appear in the plum supporting part of 'Gringoire' in The Hunchback of Notre Dame (1939), which starred Charles Laughton in the title role. After returning from his wartime service with the Army Air Force, O'Brien built up a distinguished career as a supporting actor in A-list films, and as an occasional character lead, such as in D.O.A. (1949).
O'Brien won an Academy Award for Best Supporting Actor for his role in The Barefoot Contessa (1954) and also received a Best Supporting Actor Oscar nomination for his role as a drunken senator who ferrets out an attempted coup d'etat in Seven Days in May (1964). He also appeared as crusty old-timer 'Freddy Sykes', who antagonizes Ben Johnson's character 'Tector Gorch' in director Sam Peckinpah's classic Western, The Wild Bunch (1969). Increasingly, O'Brien appeared on television in the 1960s and '70s, but managed a turn in his old boss Welles' unfinished film, The Other Side of the Wind (2018).
He married and divorced actresses Nancy Kelly and Olga San Juan, the latter being the mother of his three children, including actors Maria O'Brien and Brendan O'Brien. He died in May of 1985 in Inglewood, California, of Alzheimer's Disease and was interred in Holy Cross Cemetery in Culver City, California.1444 points- Actor
- Producer
- Writer
James Mason was born in Huddersfield and had a film career spanning over 50 years during which he appeared in over 100 films in England and America but never won an Oscar. Whatever role he played, from the wounded Belfast gunman in Odd Man Out to Rommel in The Desert Fox, his creamy velvet voice gave him away. Like Charlie Chaplin James left the screen to spend his later life living in Switzerland. His first marriage had been to Pamela Kellino, a Yorkshire mill owner's daughter and his second to Australian actress Clarissa Kaye.1431 points- Actor
- Additional Crew
- Soundtrack
Billy Wilder proclaimed William Holden to be "the ideal motion picture actor". For almost four decades, the handsome, affable 'Golden Holden' was among Hollywood's most durable and engaging stars. He was born William Franklin Beedle Jr., one of three sons to a high school English teacher, Mary Blanche (Ball), and a chemical and fertilizer analyst, William Franklin Beedle, head of the George W. Gooch Laboratories in Pasadena. His father, a keen physical fitness enthusiast, taught young Bill the art of tumbling and boxing. During his days as a student at South Pasadena High, he also became adept at team sports (football and baseball), learned to ride and shoot and to be proficient on piano, clarinet and drums.
To his father's chagrin, Bill had no inclination of following in dad's footsteps, though he did major in chemistry at Pasadena Junior College. A trip to New York and Broadway had set Bill's path firmly on an acting career. He had already performed in school plays and lent his voice to several radio plays in Los Angeles by the time he was spotted by a Paramount talent scout (playing the part of octogenarian Eugene Curie) at the Pasadena Workshop Theatre. In early 1938, he was offered a six-month studio contract for a weekly salary of $50. Naturally, the name Beedle had to go. Several alternatives were bandied around -- including Randolph Carey and Taylor Randolph - until the head of Paramount's publicity department settled on the name Holden (based on a personal friend who was an associate editor at the L.A. Times, also named Bill).
Having joined Paramount's Golden Circle Club of promising young actors, Bill was now groomed for stardom. However, it was a loan-out to Columbia that secured him his breakthrough role. He was the sixty-sixth actor to audition for the part of an Italian violinist forced to become a boxer in Golden Boy (1939). His earlier training as a junior pugilist proved somewhat beneficial but it was self-effacing co-star Barbara Stanwyck who turned out to be most instrumental in helping him rehearse and overcoming his nerves to act alongside her and thespians Lee J. Cobb and Adolphe Menjou. The picture was a minor hit and Columbia consequently acquired half his contract. For the next few years, Bill continued playing wholesome, guy-next-door types and rookie servicemen in pictures like Our Town (1940), I Wanted Wings (1941) (which was the making of 'peek-a-boo' star Veronica Lake) and The Fleet's In (1942). His salary had been enhanced and he now earned $150 a week. In July 1941, he married 25-year old actress Brenda Marshall, who commanded five times his income.
In 1942, he enlisted in the Officers Candidate School in Florida, graduating as an Air Force second lieutenant. He spent the next three years on P.R. duties and making training films for the Office of Public Information. One of his brothers, a naval pilot, was shot down and killed over the Pacific in 1943. After war's end, he was demobbed and returned to Hollywood to resume playing similar characters in similar movies. He later commented that he found "no interest or enjoyment" in portraying the same type of "nice-guy meaningless roles in meaningless movies". That was to change - along with his image - when he was invited to play the part of caddish, down-on-his-luck scriptwriter Joe Gillis in Sunset Boulevard (1950). The brilliantly acidulous screenplay was by Charles Brackett and director Billy Wilder (from their story A Can of Beans) and the story was narrated in flashback by Bill's character, opening with Gillis floating face-down in the swimming pool of a decrepit mansion "of the kind crazy people bought in the 20s".
With Sunset Boulevard (1950), Holden had effectively graduated from leading man to leading actor. No longer typecast, he was now allowed more hard-edged or even morally ambiguous roles: a self-serving, cynical prisoner-of-war in Stalag 17 (1953) (for which he won an Academy Award); an unemployed drifter who disrupts and changes the lives (particularly of womenfolk) in a small Kansas town, in Picnic (1955); a happy-go-lucky gigolo (who, as Billy Wilder explained the part to Bill, gets the sports car while Bogey -- Humphrey Bogart -- gets the girl), in the delightful Sabrina (1954); and an ill-fated U.S. Navy pilot in The Bridges at Toko-Ri (1954), set during the Korean War. Clever dialogue and the Holden likability factor also improved what potentially could have turned out dull or maudlin in pictures like Forever Female (1953) and Love Is a Many-Splendored Thing (1955).
Already one of the highest paid stars of the 1950s, Holden received 10% of the gross for The Bridge on the River Kwai (1957), making him an instant multi-millionaire. He invested much of his earnings in various enterprises, even a radio station in Hong Kong. At the end of the decade, he relocated his family to Geneva, Switzerland, but spent more and more of his own time globetrotting. In the 1960s, Holden founded the exclusive Mount Kenya Safari Club with oil billionaire Ray Ryan and Swiss financier Carl Hirschmann. His fervent advocacy of wildlife conservation now consumed more of his time than his acting. His films, consequently, dropped in quality.
Drinking ever more heavily, he also started to show his age. By the time he appeared as the leader of an outlaw gang on their last roundup in Sam Peckinpah's The Wild Bunch (1969), his face was so heavily lined that someone likened it to 'a map of the United States.' He still had a couple more good performances in him, in The Towering Inferno (1974) and Network (1976), until his shock death from blood loss due to a fall at his apartment while intoxicated. In 1982, actress Stefanie Powers, with whom he had been in a relationship since 1972, helped set up the William Holden Wildlife Foundation and the William Holden Wildlife Education Center in Kenya. Bill also has a star on the Hollywood Walk of Fame. His wanderlust has left traces of him all over the world.853 points- Actor
- Soundtrack
What an amazing career! Few can boast a longer one (64 years of activity). Few have been able to have to relate to three generations. And it is pretty sure that no one can compare with him in terms of faithfulness to a director: Chishu Ryu indeed appeared in no fewer than fifty-two out of fifty-four of his master Yasujirô Ozu. He played in 187 films or TV films and could be a very versatile actor: for instance in 1936, when he was thirty, he embodied a student in one film and an old man in another. However he was perfect in Ozu's films, most often, as a simple, unobtrusive man whose humanity is revealed through the hardships of everyday life. How could Japanese cinema have done without Chishu Ryu?841 points- Actor
- Writer
- Director
One of Italy's most captivating and talented cinematic comedy stars, Italian veteran Alberto Sordi was known for satirizing his country's social mores in pungent black comedies, farcical tales and grim drama. He, along with peers Vittorio Gassman, Ugo Tognazzi and Nino Manfredi, arguably represent the finest of post-war Italian cinema history. Born in Rome on June 15, 1920 in the Trastevere district, Sordi grew up in a musical family, his father being a tuba player for the Rome Opera House. A choir boy at the Sistine Chapel, he later trained for the theater in Milan but returned to Rome to work in radio and musical halls in comedy shows. In the late 30s he found his way into film as an extra. His first important role was in The Three Pilots (1942), a fascist war picture, but he wouldn't hit international stardom until a decade later when he starred in Federico Fellini's early films The White Sheik (1952) and I Vitelloni (1953). The titles of some of his most prolific characters were as simple as their titles: The Seducer, The Bachelor, The Husband, The Widower, The Traffic Cop, and The Moralist. Most of his protagonists amusingly, but not always pleasantly, stereotyped the worst attributes of Italian men and society, yet many of his films are unparalleled in quality and considered masterpieces. Sordi went on to star, direct and co-write more than 150 films. Never married and rather an introvert, he enjoyed a quiet, reclusive personal life. On his 80th birthday, he was made Mayor of Rome for the day. In 2002, after 190 films, he announced his retirement, and died of a heart attack the following year at age 82.839 points- Actor
- Soundtrack
Eiji Okada was born on 13 June 1920 in Chiba, Japan. He was an actor, known for Hiroshima Mon Amour (1959), Woman in the Dunes (1964) and The Boy Detectives Club - The Iron Fiend (1957). He was married to Wasa, Aiko. He died on 14 September 1995 in Japan.806 points- Actor
- Soundtrack
Entering the Mexican film industry in the 1930s, it didn't take Arturo de Córdova long to become a major star, specializing in action and adventure films. At the height of his popularity he was beckoned to Hollywood in an attempt to make him a "Latin lover" type in the mold of Ricardo Montalban, Fernando Lamas and Gilbert Roland. However, after a few attempts in lower-budget films, de Córdova returned to Mexico to continue his career there, eventually surpassing his previous fame and also becoming a major star in South America and Spain.804 points- Actor
- Producer
- Additional Crew
Burt Lancaster, one of five children, was born in Manhattan, to Elizabeth (Roberts) and James Henry Lancaster, a postal worker. All his grandparents were immigrants from the north of Ireland. He was a tough street kid who took an early interest in gymnastics. He joined the circus as an acrobat and worked there until he was injured. In the Army during WWII he was introduced to the USO and to acting. His first film was The Killers (1946), and that made him a star. He was a self-taught actor who learned the business as he went along. He set up his own production company in 1948 with Harold Hecht and James Hill to direct his career. He played many different roles in pictures as varied as The Crimson Pirate (1952), From Here to Eternity (1953), Elmer Gantry (1960) and Atlantic City (1980).
His production company, Hecht-Hill-Lancaster, produced such films as Paddy Chayefsky's Marty (1955) (Oscar winner 1955) and The Catered Affair (1956). In the 1980s he appeared as a supporting player in a number of movies, such as Local Hero (1983) and Field of Dreams (1989). However, it will be the sound of his voice, the way that he laughed, and the larger-than-life characters he played that will always be remembered.803 points- Music Artist
- Actor
- Producer
Frank Sinatra was born in Hoboken, New Jersey, to Italian immigrants Natalina Della (Garaventa), from Northern Italy, and Saverio Antonino Martino Sinatra, a Sicilian boxer, fireman, and bar owner. Growing up on the gritty streets of Hoboken made Sinatra determined to work hard to get ahead. Starting out as a saloon singer in musty little dives (he carried his own P.A. system), he eventually got work as a band singer, first with The Hoboken Four, then with Harry James and then Tommy Dorsey. With the help of George Evans (Sinatra's genius press agent), his image was shaped into that of a street thug and punk who was saved by his first wife, Nancy Barbato Sinatra. In 1942 he started his solo career, instantly finding fame as the king of the bobbysoxers--the young women and girls who were his fans--and becoming the most popular singer of the era among teenage music fans. About that time his film career was also starting in earnest, and after appearances in a few small films, he struck box-office gold with a lead role in Anchors Aweigh (1945) with Gene Kelly, a Best Picture nominee at the 1946 Academy Awards. Sinatra was awarded a special Oscar for his part in a short film that spoke out against intolerance, The House I Live In (1945). His career on a high, Sinatra went from strength to strength on record, stage and screen, peaking in 1949, once again with Gene Kelly, in the MGM musical On the Town (1949) and Take Me Out to the Ball Game (1949). A controversial public affair with screen siren Ava Gardner broke up his marriage to Nancy Barbato Sinatra and did his career little good, and his record sales dwindled. He continued to act, although in lesser films such as Meet Danny Wilson (1952), and a vocal cord hemorrhage all but ended his career. He fought back, though, finally securing a role he desperately wanted--Maggio in From Here to Eternity (1953). He won an Oscar for best supporting actor and followed this with a scintillating performance as a cold-blooded assassin hired to kill the US President in Suddenly (1954). Arguably a career-best performance--garnering him an Academy Award nomination for Best Actor--was his role as a pathetic heroin addict in the powerful drama The Man with the Golden Arm (1955).
Known as "One-Take Charlie" for his approach to acting that strove for spontaneity and energy, rather than perfection, Sinatra was an instinctive actor who was best at playing parts that mirrored his own personality. He continued to give strong and memorable performances in such films as Guys and Dolls (1955), The Joker Is Wild (1957) and Some Came Running (1958). In the late 1950s and 1960s Sinatra became somewhat prolific as a producer, turning out such films as A Hole in the Head (1959), Sergeants 3 (1962) and the very successful Robin and the 7 Hoods (1964). Lighter roles alongside "Rat Pack" buddies Dean Martin and Sammy Davis Jr. were lucrative, especially the famed Ocean's Eleven (1960). On the other hand, he alternated such projects with much more serious offerings, such as The Manchurian Candidate (1962), regarded by many critics as Sinatra's finest picture. He made his directorial debut with the World War II picture None But the Brave (1965), which was the first Japanese/American co-production. That same year Von Ryan's Express (1965) was a box office sensation. In 1967 Sinatra returned to familiar territory in Sidney J. Furie's The Naked Runner (1967), once again playing as assassin in his only film to be shot in the U.K. and Germany. That same year he starred as a private investigator in Tony Rome (1967), a role he reprised in the sequel, Lady in Cement (1968). He also starred with Lee Remick in The Detective (1968), a film daring for its time with its theme of murders involving rich and powerful homosexual men, and it was a major box-office success.
After appearing in the poorly received comic western Dirty Dingus Magee (1970), Sinatra didn't act again for seven years, returning with a made-for-TV cops-and-mob-guys thriller Contract on Cherry Street (1977), which he also produced. Based on the novel by William Rosenberg, this fable of fed-up cops turning vigilante against the mob boasted a stellar cast and was a ratings success. Sinatra returned to the big screen in The First Deadly Sin (1980), once again playing a New York detective, in a moving and understated performance that was a fitting coda to his career as a leading man. He made one more appearance on the big screen with a cameo in Cannonball Run II (1984) and a final acting performance in Magnum, P.I. (1980), in 1987, as a retired police detective seeking vengeance on the killers of his granddaughter, in an episode entitled Laura (1987).803 points- Actor
- Producer
- Additional Crew
Eldred Gregory Peck was born on April 5, 1916 in La Jolla, California, to Bernice Mae (Ayres) and Gregory Pearl Peck, a chemist and druggist in San Diego. He had Irish (from his paternal grandmother), English, and some German, ancestry. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the movies every week and of his dog, which followed him everywhere. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play "The Morning Star" (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (1944).
Stardom came with his next film, The Keys of the Kingdom (1944), for which he was nominated for an Academy Award. Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles. He appeared in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (1946), he was again nominated for an Academy Award and won the Golden Globe. He was especially effective in westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (1946), the somewhat better received Yellow Sky (1948) and the acclaimed The Gunfighter (1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (1947), which dealt with anti-Semitism, and Twelve O'Clock High (1949), a story of high-level stress in an Air Force bomber unit in World War II.
With a string of hits to his credit, Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (1951) and Moby Dick (1956). He worked with Audrey Hepburn in her debut film, Roman Holiday (1953). Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (1962). In the early 1960s, he appeared in two darker films than he usually made, Cape Fear (1962) and Captain Newman, M.D. (1963), which dealt with the way people live. He also gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (1961), one of the biggest box-office hits of that year.
In the early 1970s, he produced two films, The Trial of the Catonsville Nine (1972) and The Dove (1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Robert Thorn in the horror film The Omen (1976). After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (1977) and the monstrous Nazi Dr. Josef Mengele in the huge hit The Boys from Brazil (1978). In the 1980s, he moved into television with the miniseries The Blue and the Gray (1982) and The Scarlet and the Black (1983). In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (1991).
In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights and civil rights. In 2003, his Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute. Gregory Peck died at age 87 on June 12, 2003 in Los Angeles, California.803 points- Actor
- Producer
- Writer
A graduate of the University of Minnesota, Eddie Albert was a circus trapeze flier before becoming a stage and radio actor. He made his film debut in 1938 and has worked steadily since, often cast as the friendly, good-natured buddy of the hero but occasionally being cast as a villain; one of his most memorable roles was as the cowardly, glory-seeking army officer in Robert Aldrich's World War 2 film, Attack (1956).803 points- Actor
- Producer
- Soundtrack
Legendary actor Glenn Ford was born Gwyllyn Samuel Newton Ford in Sainte-Christine-d'Auvergne, Quebec, Canada, to Hannah Wood (Mitchell) and Newton Ford, a railroad executive. His family moved to Santa Monica, California when he was eight years old. His acting career began with plays at high school, followed by acting in West Coast, a traveling theater company.
Ford was discovered in 1939 by Tom Moore, a talent scout for 20th Century Fox. He subsequently signed a contract with Columbia Pictures the same year. Ford's contract with Columbia marked a significant departure in that studio's successful business model. Columbia's boss, Harry Cohn, had spent decades observing other studios'-most notably Warner Brothers-troubles with their contract stars and had built his poverty-row studio around their loan-outs. Basically, major studios would use Columbia as a penalty box for unruly behavior-usually salary demands or work refusals. The cunning Cohn usually assigned these stars (his little studio could not normally afford then) into pictures, and the studio's status rose immensely as the 1930s progressed. Understandably, Cohn had long resisted developing his own stable of contract stars (he'd first hired Peter Lorre in 1934 but didn't know what to do with him) but had relented in the late 1930s, first adding Rosalind Russell, then signing Ford and fellow newcomer William Holden. Cohn reasoned that the two prospects could be used interchangeably, should one become troublesome. Although often competing for the same parts, Ford and Holden became good friends. Their careers would roughly parallel each other through the 1940s, until Holden became a superstar through his remarkable association with director Billy Wilder in the 1950s.
Ford made his official debut in Fox's Heaven with a Barbed Wire Fence (1939), and continued working in various small roles throughout the 1940s until his movie career was interrupted to join the Marines in World War II. Ford continued his military career in the Naval Reserve well into the Vietnam War, achieving the rank of captain. In 1943 Ford married legendary tap dancer Eleanor Powell, and had one son, Peter Ford. Like many actors returning to Hollywood after the war (including James Stewart and Holden (who had already acquired a serious alcohol problem), he found it initially difficult to regain his career momentum. He was able to resume his movie career with the help of Bette Davis, who gave him his first postwar break in the 1946 movie A Stolen Life (1946). However, it was not until his acclaimed performance in a 1946 classic film noir, Gilda (1946), with Rita Hayworth, that he became a major star and one of the the most popular actors of his time. He scored big with the film noir classics The Big Heat (1953) and Blackboard Jungle (1955), and was usually been cast as a calm and collected everyday-hero, showing courage under pressure. Ford continued to make many notable films during his prestigious 50-year movie career, but he is best known for his fine westerns such as 3:10 to Yuma (1957) and The Rounders (1965). Ford pulled a hugely entertaining turn in The Sheepman (1958) and many more fine films. In the 1970s, Ford made his television debut in the controversial The Brotherhood of the Bell (1970) and appeared in two fondly remembered television series: Cade's County (1971) and The Family Holvak (1975). During the 1980s and 1990s, Ford limited his appearance to documentaries and occasional films, including a nice cameo in Superman (1978).
Glenn Ford is remembered fondly by his fans for his more than 100 excellent films and his charismatic silver screen presence.802 points- Actor
- Producer
- Director
Richard Widmark established himself as an icon of American cinema with his debut in the 1947 film noir Kiss of Death (1947), in which he won a Best Supporting Actor Academy Award nomination as the killer Tommy Udo. Kiss of Death (1947) and other noir thrillers established Widmark as part of a new generation of American movie actors who became stars in the post-World War II era. With fellow post-War stars Kirk Douglas and Robert Mitchum, Widmark brought a new kind of character to the screen in his character leads and supporting parts: a hard-boiled type who does not actively court the sympathy of the audience. Widmark was not afraid to play deeply troubled, deeply conflicted, or just downright deeply corrupt characters.
After his debut, Widmark would work steadily until he retired at the age of 76 in 1990, primarily as a character lead. His stardom would peak around the time he played the U.S. prosecutor in Judgment at Nuremberg (1961) as the 1950s segued into the 1960s, but he would continue to act for another 30 years.
Richard Weedt Widmark was born in Sunrise Township, Minnesota, to Ethel Mae (Barr) and Carl Henry Widmark. His father was of Swedish descent and his mother of English and Scottish ancestry. He has said that he loved the movies from his boyhood, claiming, "I've been a movie bug since I was 4. My grandmother used to take me". The teenaged Widmark continued to go to the movies and was thrilled by Dracula (1931) and Frankenstein (1931). "I thought Boris Karloff was great", Widmark said. Although he loved the movies and excelled at public speaking while attending high school, Widmark attended Lake Forest College with the idea of becoming a lawyer. However, he won the lead role in a college production of, fittingly enough, the play "Counsellor-at-Law", and the acting bug bit deep. After taking his bachelor of arts degree in 1936, he stayed on at Lake Forest as the Assistant Director of Speech and Drama. However, he soon quit the job and moved to New York to become an actor, and by 1938 he was appearing on radio in "Aunt Jenny's Real Life Stories". He made his Broadway debut in 1943 in the play "Kiss and Tell" and continued to appear on stage in roles that were light-years away from the tough cookies he would play in his early movies.
After World War II, he was signed by 20th Century-Fox to a seven-year contract. After seeing his screen test for the role of Tommy Udo, 20th Century-Fox boss Darryl F. Zanuck insisted that the slight, blonde Widmark - no one's idea of a heavy, particularly after his stage work - be cast as the psychopath in Kiss of Death (1947), which had been prepared as a Victor Mature vehicle. Even though the role was small, Widmark stole the picture. The publicity department at 20th Century-Fox recommended that exhibitors market the film by concentrating on thumping the tub for their new antihero. "Sell Richard Widmark" advised the studio's publicity manual that an alert 20th Century-Fox sent to theater owners. The manual told local exhibitors to engage a job printer to have "wanted" posters featuring Widmark's face printed and pasted up. He won a Golden Globe and an Oscar nod for the part, which led to an early bout with typecasting at the studio. Widmark played psychotics in The Street with No Name (1948) and Road House (1948) and held his own against new Fox superstar Gregory Peck in the William A. Wellman western Yellow Sky (1948), playing the villain, of course. When his pressuring the studio to let him play other parts paid off, his appearance as a sailor in Down to the Sea in Ships (1949) made headlines: Life magazine's March 28, 1949, issue featured a three-page spread of the movie headlined "Widmark the Movie Villain Goes Straight". He was popular, having captured the public imagination, and before the decade was out, his hand- and footprints were immortalized in concrete in the court outside Grauman's Chinese Theatre in Hollywood.
The great director Elia Kazan cast Widmark in his thriller Panic in the Streets (1950), not as the heavy (that role went to Jack Palance) but as the physician who tracks down Palance, who has the plague, in tandem with detective Paul Douglas. Widmark was establishing himself as a real presence in the genre that later would be hailed as film noir. Having proved he could handle other roles, Widmark didn't shy away from playing heavies in quality pictures. The soon-to-be-blacklisted director Jules Dassin cast him in one of his greatest roles, as the penny-ante hustler Harry Fabian in Night and the City (1950). Set in London, Widmark's Fabian manages to survive in the jungle of the English demimonde, but is doomed. Widmark was masterful in conveying the desperation of the criminal seeking to control his own fate but who is damned, and this performance also became an icon of film noir. In that same year, he appeared in Oscar-winning writer-director Joseph L. Mankiewicz's No Way Out (1950) as a bigot who instigates a race riot.
As the 1950s progressed, Widmark played in westerns, military vehicles, and his old stand-by genre, the thriller. He appeared with Marilyn Monroe (this time cast as the psycho) in Don't Bother to Knock (1952) and made Pickup on South Street (1953) that same year for director Samuel Fuller. His seven-year contract at Fox was expiring, and Zanuck, who would not renew the deal, cast him in the western Broken Lance (1954) in a decidedly supporting role, billed beneath not only Spencer Tracy but even Robert Wagner and Jean Peters. The film was well respected, and it won an Oscar nomination for best screenplay for the front of Hollywood 10 blacklistee Albert Maltz. Widmark left Fox for the life of a freelance, forming his own company, Heath Productions. He appeared in more westerns, adventures and social dramas and pushed himself as an actor by taking the thankless role of the Dauphin in Otto Preminger's adaptation of George Bernard Shaw's Saint Joan (1957), a notorious flop that didn't bring anyone any honors, neither Preminger, his leading lady Jean Seberg, nor Widmark. In 1960, he was appearing in another notorious production, John Wayne's ode to suicidal patriotism, The Alamo (1960), with the personally liberal Widmark playing Jim Bowie in support of the very conservative Wayne's Davy Crockett. Along with character actor Chill Wills, Widmark arguably was the best thing in the movie.
In 1961, Widmark acquitted himself quite well as the prosecutor in producer-director Stanley Kramer's Judgment at Nuremberg (1961), appearing with the Oscar-nominated Spencer Tracy and the Oscar-winning Maximilian Schell, as well as with superstar Burt Lancaster and acting genius Montgomery Clift and the legendary Judy Garland (the latter two winning Oscar nods for their small roles). Despite being showcased with all this thespian firepower, Widmark's character proved to be the axis on which the drama turned. A little later, Widmark appeared in two westerns directed by the great John Ford, with co-star James Stewart in Two Rode Together (1961) and as the top star in Ford's apologia for Indian genocide, Cheyenne Autumn (1964). On Two Rode Together (1961), Ford feuded with Jimmy Stewart over his hat. Stewart insisted on wearing the same hat he had for a decade of highly successful westerns that had made him one of the top box office stars of the 1950s. Both he and Widmark were hard-of-hearing (as well as balding and in need of help from the makeup department's wigmakers), so Ford would sit far away from them while directing scenes and then give them directions in a barely audible voice. When neither one of the stars could hear their director, Ford theatrically announced to his crew that after over 40 years in the business, he was reduced to directing two deaf toupees. It was testimony to the stature of both Stewart and Widmark as stars that this was as far as Ford's baiting went, as the great director could be extraordinarily cruel.
Widmark continued to co-star in A-pictures through the 1960s. He capped off the decade with one of his finest performances, as the amoral police detective in Don Siegel's gritty cop melodrama Madigan (1968). With Madigan, one can see Widmark's characters as a progression in the evolution of what would become the late 1960s nihilistic antihero, such as those embodied by Clint Eastwood in Siegel's later Dirty Harry (1971). In the 1970s, he continued to make his mark in movies and, beginning in 1971, in television. In movies, he appeared primarily in supporting roles, albeit in highly billed fashion, in such films as Sidney Lumet's Murder on the Orient Express (1974), Robert Aldrich's Twilight's Last Gleaming (1977), and Stanley Kramer's The Domino Principle (1977). He even came back as a heavy, playing the villainous doctor in Coma (1978).
In 1971, in search of better roles, he turned to television, starring as the President of the U.S. in the TV miniseries Vanished (1971). His performance in the role brought Widmark an Emmy nomination. He resurrected the character of Madigan for NBC in six 90-minute episodes that appeared as part of the rotation of "NBC Wednesday Mystery Movie" for the fall 1972 season. Widmark was married for 55 years to playwright Jean Hazlewood, from 1942 until her death in 1997 (they had one child, Anne, who was born in 1945). He lived quietly and avoided the press, saying in 1971, "I think a performer should do his work and then shut up". Los Angeles Times critic Kevin Thomas thought that Widmark should have won an Oscar nomination for his turn in When the Legends Die (1972) playing a former rodeo star tutoring Frederic Forrest's character.
It is surprising to think that Kiss of Death (1947) represented his sole Oscar nomination, but with the rise of respect for film noir around the time his career began tapering off in the '70s, he began to be reevaluated as an actor. Unlike Bogart, who did not live to see his reputation flourish after his death, Widmark became a cult figure well before he retired.780 points- Actor
- Producer
Born in Mexican revolution times, Pedro Armendáriz was the first child of Mexican Pedro Armendáriz García-Conde and American Adele Hastings. He was raised in Churubusco, then a suburb of Mexico City, before the family traveled to Laredo, Texas. They lived there until 1921, the year Armendáriz' parents died. His uncle Francisco took charge of his education, and young Pedro went to the Polytechnic Institute of San Luis Obispo, California. There, he studied business and journalism. He graduated in 1931 and returned to Mexico City where he found work as a railroad employee, insurance salesman and tourist guide. He was discovered by director Miguel Zacarías when Armendáriz was reciting Hamlet's monologue (to be or not to be) to an American tourist in a cafeteria.
After that, Armendáriz began a brilliant career in Mexico, the United States and Europe. Together with Dolores Del Río and Emilio Fernández, Armendáriz made many of the greatest films in the so-called Mexican Cinema Golden Era: Wild Flower (1943), Bugambilia (1945), Maria Candelaria (1944), among others. He was considered a prototype of masculinity and male beauty. His green eyes and almost perfect features made him perfectly cast in any role he made. But it was his passion, force and acting abilities, combined with his quality of a gentleman what made him an instant favorite of great directors like John Ford, international costars like María Félix, Sean Connery or Susan Hayward, and his fans in Mexico and other countries.779 points- Actor
- Director
- Writer
In 1940 Gerard left school and his parents wanted him be a lawyer. But soon his mother noticed that he was only interested in acting, although his father was against the idea. After timely intervention from Marc Allégret, who decided he showed some promise, Gerard's debut was in Claude Dauphin's play "One plain girl". After this, Gerard decided to get into the conservatory. He was wonder even in music. He himself used to find necessary sounds - exact, unexpected, and unforeseen. All this helped him to portray amazing characters. Millions of people were inspired by him.
One day Georges Lacombe offered Philipe a part in his movie Le pays sans étoiles (1946). Critical reaction was very favourable and he became a star, taking on prominent roles in films such as L'idiot (1946), Devil in the Flesh (1947), The Charterhouse of Parma (1948), Such a Pretty Little Beach (1949), Juliette ou La clef des songes (1951), Fanfan la Tulipe (1952), Beauties of the Night (1952), The Red and the Black (1954), La meilleure part (1955) and Le joueur (1958).
In 1951 Gerard Philipe married Annie. He dreamed of his own home and family, children. Their first child, Ann-Marie, was born in 1954, and in 1956 came Olivie. In 1959 Gerard returned to France. He seemed to be very tired. Doctors then gave him the bad news that he had a liver cancer. "He'll live 15 days or 6 months", - they decided. After that Gerard waited for death very calmly. On November 25, 1959 he died.767 points- Actor
- Producer
- Soundtrack
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 1978.761 points- Actor
- Director
- Writer
Vittorio De Sica grew up in Naples, and started out as an office clerk in order to raise money to support his poor family. He was increasingly drawn towards acting, and made his screen debut while still in his teens, joining a stage company in 1923. By the late 1920s he was a successful matinee idol of the Italian theatre, and repeated that achievement in Italian movies, mostly light comedies. He turned to directing in 1940, making comedies in a similar vein, but with his fifth film The Children Are Watching Us (1943), he revealed hitherto unsuspected depths and an extraordinarily sensitive touch with actors, especially children. It was also the first film he made with the writer Cesare Zavattini with whom he would subsequently make Shoeshine (1946) and Bicycle Thieves (1948), heartbreaking studies of poverty in postwar Italy which won special Oscars before the foreign film category was officially established. After the box-office disaster of Umberto D. (1952), a relentlessly bleak study of the problems of old age, he returned to directing lighter work, appearing in front of the camera more frequently. Although Yesterday, Today and Tomorrow (1963) won him another Oscar, it was generally accepted that his career as one of the great directors was over. However, just before he died he made The Garden of the Finzi-Continis (1970), which won him yet another Oscar, and his final film A Brief Vacation (1973). He died following the removal of a cyst from his lungs.761 points- Raf Vallone was an internationally acclaimed Italian movie star known for his rugged good looks. The athletic Vallone, a former soccer player who often was compared to Burt Lancaster, was born Raffaele Vallone in 1916 in Tropea in Calabria, Italy, the son of a prominent lawyer and his aristocratic wife. At the University of Turin, Vallone took degrees in law and philosophy and then entered his father's law firm.
Vallone played semi-professional soccer but never realized his dream of becoming a professional athlete. Subsequently, he became a sports reporter for L'Unita, a communist newspaper, and also a drama critic for La Stampa. During World War II, Vallone served with the anti-Fascist resistance.
His first job as a movie actor was a bit part in We the Living (1942) (aka, "We the Living"), but Vallone was not serious about acting as a career. Hired as a researcher on a film about labor unrest, director Giuseppe De Santis cast Vallone as a soldier competing with Vittorio Gassman for the love of Silvana Mangano in what became the neo-realist classic Bitter Rice (1949) ("Bitter Rice"). The film propelled Vallone, pronounced a natural actor by De Santis, into international stardom and ended his journalism career.
Vallone became a major star in Italy in the 1950s and then a player in the global film industry, making movies in Italian, French and English. Vallone achieved popularity with American audiences in the 1960s, starting with his supporting roles in Two Women (1960) ("Two Women") and El Cid (1961), both co-starring Sophia Loren. Other major actresses he co-starred with on film and stage included Gina Lollobrigida, Anna Magnani, Melina Mercouri, Simone Signoret, and Elena Varzi, to whom he was married for 52 years, until his death in 2002.
Vallone's first "American" role was as the incest-minded Italian-American longshoreman Eddie Carbone in Sidney Lumet's film of Arthur Miller's A View from the Bridge (1962) ("A View from the Bridge"). Other prominent roles in American films included Otto Preminger's The Cardinal (1963), Roger Corman's The Secret Invasion (1964), Harlow (1965) starring Carroll Baker, and Henry Hathaway's Nevada Smith (1966).
Vallone played many priests during his long career, culminating with the cardinal-confessor of mobster Michael Corleone, a priest who becomes pope and is murdered in Francis Ford Coppola's The Godfather Part III (1990). Appearing for the other side, Vallone was memorable as the Mafia boss Altabani in the original The Italian Job (1969).760 points - Actor
- Producer
- Writer
Perhaps not so surprisingly, John Payne maintained that his favorite movie of all time was one of his own -- Miracle on 34th Street (1947) -- simply because it reflected his own strong and spiritual belief system. Today, of course, the film, which co-stars beautiful Maureen O'Hara, Oscar-winning Edmund Gwenn as Kris Kringle and little non-believing scene-steal Natalie Wood, is a perennial holiday favorite and his best-remembered film role despite the mighty fine product he turned out over the years.
Born John Howard Payne on May 28, 1912 (not May 23, according to his daughter, actress Julie Payne), he was the middle son of three boys (Peter and Robert were the others). His parents, businessman George Washington Payne and Ida Hope (ne Schaeffer) Payne were quite well-to-do and came from a rich heritage. John was named after an ancestor who wrote the song, "Home, Sweet, Home." The boys grew up privileged on a Roanoke, Virginia estate complete with equestrian stables and swimming pools. At his mother's request, John took singing lessons in order to curb an extreme shyness problem. During his teens, the boy was shipped off to Mercersburg Academy, a prep school in Pennsylvania, and later was studying at Roanoke College at the time his father died. John was forced to give up his studies in an effort to help support his family, finding work as a male nurse and, better yet, a radio singer at a local station. Eventually, he was able to return to his studies, enrolling at the Pulitzer School of Journalism at Columbia University. John continued to find work as a singer and even earned some extra cash as a boxer and wrestler.
The tall (6'2"), dark, and handsome Payne, in his mid-20s, eventually turned to the stage and, while understudying Reginald Gardiner in the musical "At Home Abroad," was spotted by Samuel Goldwyn during a performance signed for film work. Billed initially as John Howard Payne, he made his debut with a minor role in Dodsworth (1936), but nothing else came of it and he was released. Freelancing in minor musicals and comedies, he appeared in a starring role (billed now as John Payne) opposite soon-to-be acting guru Stella Adler in Love on Toast (1937), and also teamed up vocally with Betty Grable on a radio show. Payne met actress Anne Shirley during this time and the couple married in August of 1937. Three years later they had a daughter, Julie Payne, who would become an actress in her own right. The happiness for John and Anne wouldn't last, however, and the couple divorced in 1943.
In 1937, Paramount took over the actor's interest with a featured part in Bob Hope's College Swing (1938). Warner Bros. then signed him up briefly, allowing him a third-billed role in the Busby Berkeley musical Garden of the Moon (1938) starring Pat O'Brien and Margaret Lindsay in which he sang the title song as well as the tune "Love Is Where You Find It," among others. Again, John didn't have the right studio fit until 20th Century-Fox came along in 1940. Then it all began to happen for him. Co-starring roles opposite Alice Faye in the musicals Tin Pan Alley (1940) and Week-End in Havana (1941), and with popular skating star Sonja Henie in Sun Valley Serenade (1941) and Iceland (1942) started the ball rolling. But it was a starring role in the war tearjerker Remember the Day (1941), in which he was romantically paired with Claudette Colbert, that secured his place as a dramatic actor and gave him one of his best career showcases.
After co-starring with former radio partner Betty Grable in Springtime in the Rockies (1942), John served a two-year hitch (1942-1944) with the Army. Upon his discharge he went right back to courting Betty Grable in the musical film The Dolly Sisters (1945) and met 18-year-old singer/actress Gloria DeHaven during its shoot. The twosome wed in 1945 and a daughter and son were born within three years. Problems arose when Gloria insisted on continuing her career and the couple, after on and off separations, finally divorced in 1950. John's early post-WWII work offered some of his finest roles with significant non-singing parts coming in the form of Sentimental Journey (1946) with Maureen O'Hara which was a project he bought for himself, the glossy epic The Razor's Edge (1946) co-starring Gene Tierney, Miracle on 34th Street (1947), again paired up magically with O'Hara, and Larceny (1948) with Joan Caulfield.
After John left 20th Century-Fox, his film vehicles grew more routine. Crimers, war drama, and westerns became the norm but a smart and lucrative business arrangement (that included a seven-picture deal) with action producers William H. Pine and William C. Thomas (Pine-Thomas Productions) compensated greatly. As such John appeared in El Paso (1949), Tripoli (1950), Passage West (1951), Kansas City Confidential (1952). 99 River Street (1953), Silver Lode (1954) and ended the deal with Slightly Scarlet (1956). A shrewd businessman, Payne also obtained rights to these films in the aftermath. In 1953, he entered into his third and final marriage to Alexandra ("Sandy") Crowell Curtis, the former wife of actor Alan Curtis. In addition to returning to his singing roots with Las Vegas showroom engagements, John went on to star in his own western TV series The Restless Gun (1957) which lasted two seasons. Daughter Julie appeared in one episode.
A very serious 1961 accident, however, in which John was hit by a car in New York City, slowed him down considerably. It took well over two years for him to recover enough from his leg fractures and facial/scalp wounds to return to acting. In 1964, he co-starred on Broadway with Lisa Kirk in the Broadway musical "Here's Love". A decade later he returned to the arms of Alice Faye when they reunited on stage with a Broadway revival of "Good News". Unfortunately he had to leave the show prematurely as the dancing required was re-aggravating his leg pain. His 70s career ended with TV roles on such shows as "Gunsmoke," "Cade's Country" and "Columbo".
Retiring in 1975, John focused quietly on reading, writing short stories, flying, and cooking. In addition to daughter Julie, two of his grandchildren went on to become actresses as well -- Katharine Towne and Holly Payne. The 77-year-old Payne died on December 6, 1989 at his Malibu home of congestive heart failure. A reliable and steady leading man who may not have been a great mover or shaker on screen, he nonetheless brought tremendous entertainment to the industry and his fans both musically and dramatically in a career that lasted four decades.755 points- Actor
- Soundtrack
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.754 points- Actor
- Producer
In Britain, special Christmas plays called pantomimes are produced for children. Jack Hawkins made his London theatrical debut at age 12, playing the elf king in "Where The Rainbow Ends". At 17, he got the lead role of St. George in the same play. At 18, he made his debut on Broadway in "Journey's End". At 21, he was back in London playing a young lover in "Autumn Crocus". He married his leading lady, Jessica Tandy. That year he also played his first real film role in the 1931 sound version of Alfred Hitchcock's The Phantom Fiend (1932). During the 30s, he took his roles in plays more seriously than the films he made. In 1940, Jessica accepted a role in America and Jack volunteered to serve in the Royal Welch Fusiliers. He spent most of his military career arranging entertainment for the British forces in India. One of the actresses who came out to India was Doreen Lawrence who became his second wife after the war. Alexander Korda advised Jack to go into films and offered him a three-year contract. In his autobiography, Jack recalled: "Eight years later I was voted the number one box office draw of 1954. I was even credited with irresistible sex appeal, which is another quality I had not imagined I possessed." A late 1940s film, The Black Rose (1950), where he played a secondary role to Tyrone Power, would be one of his most fortunate choices of roles. The director was Henry Hathaway who Jack said was "probably the most feared, yet respected director in America, for he had a sharp tongue and fired people at the drop of a hat. Years later, after my operation when I lost my voice, he went out of his way to help me get back into films. What I did not know was that during the filming of 'The Black Rose' he was himself suffering from cancer." In the 1950s came the film that made Hawkins a star, The Cruel Sea (1953). Suffering from life-long, real-life seasickness, he played the captain of the Compass Rose. After surgery for throat cancer in 1966, requiring the removal of his larynx, Jack continued to make films. He mimed his lines and the voice was dubbed by either Charles Gray or Robert Rietty. His motto during those last years came from Milton's "Comus", a verse play in which he acted early in his career in Regent's Park. The lines: "Yet where an equal poise of hope and fear does arbitrate the event, my nature is that I incline to hope, rather than to fear."754 points- Director
- Actor
- Additional Crew
Gene Nelson was barely a teen when he saw the Fred Astaire movie Flying Down to Rio (1933), which would change his life. It was then that he decided he would be a dancer. After graduating from high school, Nelson joined the Sonja Henie Ice Show and toured for 3 years before joining the Army in World War II. After he was discharged, he appeared in a handful of movies before 1950. He worked with Debbie Reynolds in The Daughter of Rosie O'Grady (1950), Doris Day in Tea for Two (1950) and Virginia Mayo in She's Working Her Way Through College (1952). He would be best known for his role of cowboy Will Parker in Oklahoma! (1955), where he would twirl the lasso to the tune of "Kansas City".
After his dancing days ended he turned to directing TV and films, including two Elvis Presley movies, Kissin' Cousins (1964) and Harum Scarum (1965). For television he directed episodes of I Dream of Jeannie (1965), Star Trek (1966), The Rifleman (1958), The Donna Reed Show (1958) and many others.751 points- Born to George & Frances Simonson Walter, and named Sterling Relyea Walter. Father died in 1925. Adopted by stepfather 'James Hayden' renamed Sterling Walter Hayden. Grew up in New Hampshire, Massachusetts, Pennsylvania, Washington D.C., and Maine. Though very poor, attended prep school at Wassookeag School in Dexter, Maine. Ran away to sea at 17, first as ship's boy, then as doryman on the Grand Banks, as a seaman and fireman on numerous vessels before getting his first command at 19. He sailed around the world a number of times, becoming a well-known and highly respected ship's captain. At urging of friends, met with producer Edward H. Griffith who signs him to a Paramount contract. Fell for his first leading lady, Madeleine Carroll, and married her. Prior to Pearl Harbor, abandoned Hollywood to become a commando with the COI (later the OSS). Joined Marines under pseudonym "John Hamilton" (a name he never acts under), eventually running guns and supplies to Yugoslav partisans through the German blockade of the Adriatic, as well as parachuting into Croatia for guerrilla activities. Won Silver Star and citation from Tito of Yugoslavia. Briefly flirted with Communist Party membership due to friendship with Yugoslav Communists. Returned to film work, which he despised, in order to pay for a succession of sailing vessels. As Red Scare deepens in U.S., he cooperated with the House Un-American Activities Committee, confessing his brief Communist ties. Ever after regretted this action, holding himself in enormous contempt for what he considered "ratting". Offered role of Tarzan as replacement for Lex Barker, but refused. Made headlines defying court order not to sail to Tahiti with his children following divorce decree. Published autobiography "Wanderer" in 1963, and novel "Voyage" in 1976, both to great acclaim. Cast as Quint in Jaws (1975) but unable to play due to tax problems. Died of cancer in 1986.751 points
- Actor
- Writer
- Soundtrack
Lars Ekborg was born on 6 June 1926 in Uppsala, Uppsala län, Sweden. He was an actor and writer, known for Summer with Monika (1953), The Magician (1958) and Lille Fridolf och jag (1956). He was married to Lola Ekborg. He died on 7 October 1969 in Sweden.745 points- Actor
- Director
- Writer
The son of an attorney, Richard Carlson had an introspective quality to his performances and looked every inch the academic he first aspired to be. Following his graduation from the University of Minnesota with a Master's Degree in English, the tall, dark-haired youth had a brief stint as a drama teacher at his alma mater. However, deciding on the performing arts instead, he invested his money in buying his own theatre in Minneapolis and featuring himself as the star. By the age of 23, he had gained sufficient acting credentials to perform on Broadway opposite Ethel Barrymore, Jimmy Durante and Ethel Merman. Sidelining as a writer, he enjoyed moderate success publishing a number of short stories, but his play "Western Waters" was a flop on Broadway, closing after just seven performances. Just when it seemed Richard's fortunes were on the wane, he was offered a contract as actor/writer/director by the producer David O. Selznick.
After being encouraged by leading actress Janet Gaynor to make his screen bow in her motion picture The Young in Heart (1938), Richard moved to California on a permanent basis. During the next few years, he made several films (primarily at RKO), invariably in the part of the diffident juvenile. Many of these were forgettable second features, such as the supernaturally-themed Beyond Tomorrow (1940), or commercial failures, like the nostalgic Anna Neagle musical No, No, Nanette (1940). There was, however, one stellar performance: his newspaperman David Hewitt in William Wyler's brilliant adaptation of Lillian Hellman's southern melodrama The Little Foxes (1941). This was followed by another decent role in the fruity (but highly enjoyable) melodrama White Cargo (1942), and the lead in a cliched, run-of-the-mill crime picture, Highways by Night (1942). Then World War II intervened and Richard did his tour of duty. When he returned to the screen, it was without the intensity and vigor which had characterized his pre-war performances.
After several years of indifferent acting parts, Richard found renewed energy for his third-billed appearance in MGM's lavish Technicolor remake of King Solomon's Mines (1950). Perhaps surprisingly, this did not lead to further roles in A-grade features. Instead, Richard Carlson found himself the unlikely star of several sci-fi features, which have attained cult status over the passing years. Pick of the bunch was Jack Arnold's seminal It Came from Outer Space (1953) (based on a story by Ray Bradbury), with Richard in the role of a well-meaning, rather arcane astronomer, witness to an alien presence which turns out to be benign. The sincerity of his performance led to similar parts in The Magnetic Monster (1953) (with similar moralistic undertones) and the atmospheric Creature from the Black Lagoon (1954).
Though his original contract with Selznick had stipulated directing as well, Richard did not work behind the camera until 1954. Then, he unwisely accepted charge of a silly pseudo-scientific premise entitled Riders to the Stars (1954), a low-budget enterprise bogged down by verisimilitude and technobabble at the expense of drama. In the course of the next twelve years, he directed some better second features, including the westerns Four Guns to the Border (1954) and Kid Rodelo (1966), as well as a number of television episodes. He also wrote the occasional TV script, as well as contributing articles on non-fiction subjects to several magazines.
During the early fifties -- with America in the grip of McCarthyist paranoia -- Richard gained a wider audience as the star of I Led 3 Lives (1953), playing the role of Herbert A. Philbrick (1915-1993) (on whose book by the same title the series was based), who infiltrated the Communist Party on behalf of the FBI. The show proved popular enough at the time to run for three years and 115 episodes. Richard had yet another recurring part, as stalwart Colonel Ranald Mackenzie, taming the south-western frontier in Mackenzie's Raiders (1958). For the remainder of his acting career, he guested in western and detective series, including The Virginian (1962), Perry Mason (1957), The F.B.I. (1965) and Cannon (1971) . After his retirement in 1975, Richard lived the last two years of his life in Sherman Oaks, California.744 points- Actor
- Sound Department
- Additional Crew
Yves Montand was born on 13 October 1921 in Monsummano Terme, Tuscany, Italy. He was an actor, known for Jean de Florette (1986), Z (1969) and The Wages of Fear (1953). He was married to Simone Signoret. He died on 9 November 1991 in Senlis, Oise, France.734 points- Actor
- Director
- Writer
Charles Vanel was a French actor. His film career lasted for 76 years, from 1912 to 1988. He appeared in over 200 films.
Vanel often worked under famous directors, such as Luis Buñuel, Henri-Georges Clouzot, Jacques Feyder, and Alfred Hitchcock. A career highlight was his role as truck driver Jo in the thriller film "The Wages of Fear" (1953). In France, it was the 4th highest earning film of the year. The film won both the Golden Bear and the Palme d'Or.
Vanel won the Best Actor award of the Karlovy Vary International Film Festival , for his role as Wolf Andergast in the drama film "L'affaire Maurizius" (1954).
Vanel had a supporting role in the thriller film "To Catch a Thief" (1955) as restaurant owner Monsieur Bertani, who is a veteran of the French Resistance. In retrospect, the film was considered one of Hitchcock's strongest films.
Vanel won the Best Actor award of the San Sebastian International Film Festival, for his role as Albatrasse in the thriller film "Burning Fuse" (1957).
In 1979, Vanel received a Honorary César Award for his career. In 1981, he won the Best Supporting Actor award in the David Di Donatello Awards, for his role as pater familias Donato Giuranna in the drama film "Three Brothers".
Vanel's last film role was in the film "Les Saisons du plaisir" (1988). He died in April 1989, at the age of 96.734 points- Actor
- Additional Crew
With his whitish blond crew-cut, slow, menacing drawl and Germanic manner, Van Eyck was destined to be typecast as stereotypically scowling, arrogant Nazi officers. This was ironic, because he was an avowed anti-fascist who had left Germany in 1931 -- two years before Adolf Hitler came to power. The son of an aristocratic Prussian land owner, his father had intended him to embark on a military career. Instead, Peter spent his education in Berlin, where he trained as a musician.
In 1937, Van Eyck arrived in New York via Havana, Cuba, and became acquainted with the composer Aaron Copland. This led to a collaboration, as well as solo efforts, as composer and lyricist on a variety of songs for revue and cabaret. He also moonlighted as a pianist in bars and nightclubs. Around this time, he also began to work as a stage manager and arranger for Irving Berlin. Not afraid to try any job that came along, he tried his hand at driving a truck, and this, somehow, led him to Hollywood where he became a protege of the director Billy Wilder. Wilder prompted him to appear in front of the camera. In 1943, Peter commenced his career in films, by this time, as a naturalized American citizen. For the remainder of the decade, he had little to do but act an assembly line of parts as German officers and Gestapo henchmen in films like Five Graves to Cairo (1943) and Address Unknown (1944).
After the war, Van Eyck returned to Germany, where he was ironically cast as an American officer in Hallo, Fräulein! (1949). He also appeared in the comedy Royal Children (1950) ,with Jenny Jugo), as yet another American. He gave one of his very best performances in the role of Bimba in Henri-Georges Clouzot's high octane thriller The Wages of Fear (1953). In this famous French classic, he played one of a group of daredevil truck drivers traversing an impenetrable South American jungle with a deadly load of nitroglycerin.
Down the track, he found other good roles: as the womanising Frenchman Fribert in Rosemary (1958); as a police inspector investigating a famous murder in Dr. Crippen lebt (1958),aka ('Dr.Crippen lives'); a starring role as Paul Decker, who attempts the perfect murder of his wife in The Snorkel (1958); and one of two industrialist brothers in Helmut Käutner''s The Rest Is Silence (1959).
During the 60's, Van Eyck appeared increasingly in international co-productions of variable quality. Having settled in Switzerland and maintaining a residence in Paris, he was ideally placed to alternate between French, English and German film roles. He made three potboilers about the master criminal Dr. Mabuse which were extremely popular in Germany. His best performances during this period were as the East German intelligence officer Mundt, who is the target of The Spy Who Came in from the Cold (1965) and as Colonel General von Brock in the absorbing war drama The Bridge at Remagen (1969), which was also his last film.
Van Eyck died near Zurich in July,1969, of septicemia, just short of his 58th birthday.734 points- Actor
- Director
- Soundtrack
Richard Conte was born Nicholas Richard Conte on March 24, 1910, in Jersey City, New Jersey, the son of an Italian-American barber. He held a variety of jobs before becoming a professional actor, including truck driver, Wall Street clerk and singing waiter at a Connecticut resort. The gig as a singing waiter led to theatrical work in New York, where in 1935, he was discovered by actors Elia Kazan and Julius "Julie" Garfinkle (later known as John Garfield).
Kazan helped Conte obtain a scholarship to study acting at the Neighborhood Playhouse, where he excelled. Conte made his Broadway debut late in "Moon Over Mulberry Street" in 1939, and went on to be featured in other plays, including "Walk Into My Parlor." His stage work lead to a movie job, and he made his film debut in Heaven with a Barbed Wire Fence (1939), in which he was billed as "Nicholas Conte." His career started to thrive during the Second World War, when many Hollywood actors were away in the military.
Signing on as a contract player with 20th Century-Fox in 1942, Conte was promoted by the studio as, ironically, as "New John Garfield," the man who helped discover him. He made his debut at Fox, under the name "Richard Conte", in Guadalcanal Diary (1943). During World War II Conte appeared mostly as soldiers in war pictures, although after the war he became a fixture in the studio's "film noir" crime melodramas. His best role at Fox was as the wrongly imprisoned man exonerated by James Stewart's reporter in Call Northside 777 (1948) and he also shined as a trucker in Thieves' Highway (1949).
In the 1950s Conte essentially evolved into a B-movie actor, his best performances coming in The Blue Gardenia (1953) and Highway Dragnet (1954). After being set free of his Fox contract in the early 1950s, his career lost momentum as the film noir cycle exhausted itself, although he turned in a first-rate performance as a vicious but philosophical gangster in Joseph H. Lewis film-noir classic, The Big Combo (1955).
Conte appeared often on television, including a co-starring gig on the syndicated series The Four Just Men (1959), but by the 1960s his career was in turnaround. Frank Sinatra cast him in his two Tony Rome detective films, the eponymous Tony Rome (1967) and Lady in Cement (1968), but Conte eventually relocated to Europe. He directed and starred in Operation Cross Eagles (1968), a low-budget war picture shot in Yugoslavia. His last hurrah in Hollywood role was as Don Corleone's rival, Don Barzini, in The Godfather (1972), which many critics and filmmakers, including the late Stanley Kubrick, consider the greatest Hollywood film of all time. Ironically, Paramount - which produced "The Godfather" - had considered Conte for the title role before the casting list was whittled down to Laurence Olivier and Marlon Brando. After The Godfather (1972), Conte - whose character was assassinated in that picture, so does not appear in the equally classic sequel - continued to appear in European films.
Richard Conte was married to Ruth Storey, with whom he fathered film editor Mark Conte. He died of a heart attack on April 15, 1975, in Los Angeles, California, aged 65.732 points- Actor
- Production Manager
- Director
Born Raymond William Stacy Burr on May 21, 1917 in New Westminster, British Columbia, he spent most of his early life traveling. As a youngster, his father moved his family to China, where the elder Burr worked as a trade agent. When the family returned to Canada, Raymond's parents separated. He and his mother moved to Vallejo, California, where she raised him with the aid of her parents. As he got older, Burr began to take jobs to support his mother, younger sister and younger brother. He took jobs as a ranch hand in Roswell, New Mexico; as a deputy sheriff; a photo salesman; and even as a nightclub singer.
During World War II, he served in the United States Navy. In Okinawa, he was shot in the stomach and sent home. In 1946, Burr made his film debut in San Quentin (1946). From there, he appeared in more than 90 films before landing the titular character on Perry Mason (1957), the role for which he was best-known. Decades later, he reprised the role opposite former co-star Barbara Hale in a series of NBC television movies. At age 65, he returned to teaching drama as a professor of theatre at Sonoma State University, Rohnert Park.
After a brave battle with cancer, Burr died at age 76 on September 12, 1993 at his ranch home in Geyserville, Sonoma County, California. Married once, the union ended in divorce. He had no children.732 points- Actor
- Director
- Soundtrack
Born to a Czech mother and a Serbian father in Chicago as Mladen Sekulovich, on March 22, 1912, Karl Malden did not speak English until he was in kindergarten. After graduating from high school in the nearby steel town of Gary, Indiana, Malden worked in the industry for three years until 1934, when he was frustrated with the drudgery of manual labor. He left to attend the Arkansas State Teacher's College, then the Goodman Theater Dramatic School and never looked back. Three years later, he went to New York City to find fame.
Malden rapidly became involved with the Group Theater, an organization of actors and directors who were changing the face of theater, where he attracted the attention of director Elia Kazan. With Kazan directing, Karl starred in plays such as "All My Sons" by Arthur Miller and "A Streetcar Named Desire" by Tennessee Williams. While Malden had one screen appearance before his military service in World War II, in They Knew What They Wanted (1940), he did not establish his film career until after the war. Malden won the Oscar for Best Supporting Actor as Mitch in A Streetcar Named Desire (1951) and showed his range as an actor in roles such as that of Father Corrigan in On the Waterfront (1954) and the lecherous Archie Lee in Baby Doll (1956).
He starred in dozens of films such as Fear Strikes Out (1957), Pollyanna (1960), Birdman of Alcatraz (1962), Gypsy (1962), How the West Was Won (1962), The Cincinnati Kid (1965), and Patton (1970) as General Omar Bradley. In the early 1970s, he built a television career on the tough but honest screen persona he had created when he starred as Detective Mike Stone on The Streets of San Francisco (1972), co-starring with Michael Douglas. He also became the pitchman for American Express, a position he held for 21 years. In 1988, he was elected President of the Academy of Motion Picture Arts and Sciences, a position he held for five years. Following that he, published his memoir entitled, "When Do I Start?: A Memoir", written with his daughter Carla.
Malden also courted controversy by pushing for a special salute to Elia Kazan at the 1999 Academy Awards. Malden defended both Kazan and the award, arguing that Kazan's artistic achievements outshone any shame attached to Kazan's naming names before the Congressional committee investigating Communists in Hollywood. Marlon Brando refused to give Kazan the statuette; Robert De Niro ultimately did. Karl Malden died at age 97 of natural causes at his home in Los Angeles on July 1, 2009. He was buried at Westwood Village Memorial Park Cemetery in Westwood, California.727 points- Actor
- Soundtrack
Brian Aherne was an Oscar-nominated Anglo-American stage and screen actor who was one of the top cinema character actors in the 1930s, 1940s and 1950s. Born on May 2, 1902, in Kings Norton, Worcestershire, England, Aherne performed as an actor as a child. At age 18, he made his debut as an adult with the company that would evolve into the world-famous Birmingham Repertory Theatre. Three years later, he made his debut in London's West End, the English equivalent of Broadway. After his experience in Birmingham, Aherne studied architecture, but a life as an actor was too strong to resist, so he returned to the theater in 1923. For the next eight years, he toured the provinces and appeared in the West End in various productions. In 1931, he made his Broadway debut playing Robert Browning in "The Barretts of Wimpole Street." He alternated between the New York and London stage in the early 1930s. Aherne made his movie debut in 1924, and in the mid-1930s, he moved to Hollywood. In 1940, he was nominated for an Academy Award as Best Supporting Actor for Juarez (1939) for playing the Emperor Maximilian. Brian Aherne published his autobiography in 1969, and 10 years later, he published a biography of his friend George Sanders, entitled "A Dreadful Man." He died at age 83 of heart failure on February 10, 1986, in Venice, Florida.727 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".724 points- Actor
- Soundtrack
Distinguished U.S. actor and longtime civil rights campaigner Robert Bushnell Ryan was born in Chicago, Illinois, to Mable Arbutus (Bushnell), a secretary, and Timothy Aloysius Ryan, whose wealthy family owned a real estate firm. His father was of Irish ancestry, and his mother was of English and Irish descent. Ryan served in the United States Marines as a drill sergeant (winning a boxing championship) and went on to become a key figure in post WWII American Film Noir and western productions.
Ryan grabbed critical attention for his dynamic performances as an anti-Semitic bully in the superb Crossfire (1947), as an over-the-hill boxer who refuses to take a fall in The Set-Up (1949) and as a hostile & jaded cop in On Dangerous Ground (1951). Ryan's athletic physique, intense gaze and sharply delivered, authoritarian tones made him an ideal actor for the oily world of the Film Noir genre, and he contributed solid performances to many Film Noir features, usually as a vile villain. Ryan played a worthy opponent for bounty hunter James Stewart in the Anthony Mann directed western The Naked Spur (1953), he locked horns with an intrepid investigator Spencer Tracy in the suspenseful Bad Day at Black Rock (1955) and starred alongside Harry Belafonte in the grimy, gangster flick Odds Against Tomorrow (1959). Plus, the inventive Ryan excelled as the ruthless "John Claggart" in Billy Budd (1962), and two different WWII US generals - first in the star-filled The Longest Day (1962) and then in Battle of the Bulge (1965).
For the next eight years prior to his untimely death in 1973, Ryan landed some tremendous roles in a mixture of productions each aided by his high-caliber acting skills leaving strong impressions on movie audiences. He was one of the hard men hired to pursue kidnapped Claudia Cardinale in the hard boiled action of The Professionals (1966), a by-the-book army colonel clashing with highly unorthodox army major Lee Marvin in The Dirty Dozen (1967), and an embittered bounty hunter (again) forced to hunt down old friend William Holden in the violent Sam Peckinpah western classic The Wild Bunch (1969). Ryan's final on-screen performance was in the terrific production of The Iceman Cometh (1973) based on the Eugene O'Neill play and also starring Lee Marvin and Fredric March.
Legend has it that Sam Peckinpah clashed very heatedly with Ryan during the making of The Wild Bunch (1969); however Peckinpah eventually backed down when a crew member reminded Sam of Robert Ryan's proficiency with his fists!
Primarily a man of pacifist beliefs, Ryan often found it a challenge playing sadistic and racist characters who very much were at odds with his own personal ideals. Additionally, Ryan actively campaigned for improved civil rights, restricting the growth of nuclear weapons, and he strongly opposed McCarthyism and its abuse of people who many believed were innocent. A gifted, intelligent and powerful actor, Robert Ryan passed away on July 11th, 1973 of lung cancer.724 points- Actor
- Additional Crew
- Soundtrack
Tall, distinguished, aristocratic Louis Calhern seemed to be the poster boy for old-money, upper-crust urban society, but he was actually born Carl Vogt, to middle-class parents in New York City. His family moved to St. Louis when he was a child, and it was while playing football in high school there that he was spotted by a representative of a touring acting troupe and hired as an actor. He returned to New York to work in the theater, but his career was interrupted by military service in France in World War I. He returned to the stage after the war, and eventually broke into films. Although his regal bearing would seem to pigeonhole him in aristocratic parts in serious drama, he proved to be a very versatile actor, as much at home playing a comic foil to The Marx Brothers in Duck Soup (1933) as he was as Buffalo Bill to Betty Hutton's Annie Oakley in Annie Get Your Gun (1950) or, most memorably, the lawyer involved with the criminal gang in The Asphalt Jungle (1950). Married four times, he was in Tokyo, Japan, filming The Teahouse of the August Moon (1956) when he suffered a fatal heart attack.723 points- Actor
- Director
- Writer
Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.723 points- Actor
- Director
- Writer
Born in London, England, John Gielgud trained at Lady Benson's Acting School and RADA, London. Best known for his Shakespearean roles in the theater, he first played Hamlet at the age of 26. He worked under the tutelage of Lilian Bayliss with friend and fellow performer Laurence Olivier and other contemporaries of the National Theatre at the "Old Vic", London. He made his screen debut in 1924. Academy Award Best Supporting Actor, 1981, for Arthur (1981), Academy Award Nomination, 1964, for Becket (1964).723 points- Actor
- Soundtrack
Square-jawed, intense, no-nonsense Frank Lovejoy played a succession of detectives, street cops, reporters, soldiers and such over his career. Born in the Bronx, New York, in 1912, he worked on Wall Street as a teenager, but the Great Stock Market Crash of 1929 cost him his job, and to make ends meet he got into acting. He played in touring companies throughout the Northeast before making his Broadway debut in 1934. His gritty, authoritative voice was perfect for radio, and he became a staple on such shows as "Gangbusters", "Night Beat" and "Damon Runyon Theater". Making his film debut in 1948, he worked steadily, mainly in supporting parts but also as a first or second lead (one of his best roles was as one of the hunters kidnapped by murderous psychopath William Talman in the classic The Hitch-Hiker (1953), directed by Ida Lupino). He played soldiers in such war pictures as Breakthrough (1950) and Retreat, Hell! (1952) and even showed up in a western or two. During the 1950s he starred in his own TV shows, Man Against Crime (1956) and The Adventures of McGraw (1957). He died of a heart attack in New York City in 1962.721 points- Actor
- Producer
- Writer
Robert Mitchum was an underrated American leading man of enormous ability, who sublimated his talents beneath an air of disinterest. He was born in Bridgeport, Connecticut, to Ann Harriet (Gunderson), a Norwegian immigrant, and James Thomas Mitchum, a shipyard/railroad worker. His father died in a train accident when he was two, and Robert and his siblings (including brother John Mitchum, later also an actor) were raised by his mother and stepfather (a British army major) in Connecticut, New York, and Delaware. An early contempt for authority led to discipline problems, and Mitchum spent good portions of his teen years adventuring on the open road. He later claimed that on one of these trips, at the age of 14, he was charged with vagrancy and sentenced to a Georgia chain gang, from which he escaped. Working a wide variety of jobs (including ghostwriter for astrologist Carroll Righter), Mitchum discovered acting in a Long Beach, California, amateur theater company. He worked at Lockheed Aircraft, where job stress caused him to suffer temporary blindness. About this time he began to obtain small roles in films, appearing in dozens within a very brief time. In 1945, he was cast as Lt. Walker in Story of G.I. Joe (1945) and received an Oscar nomination as Best Supporting Actor. His star ascended rapidly, and he became an icon of 1940s film noir, though equally adept at westerns and romantic dramas. His apparently lazy style and seen-it-all demeanor proved highly attractive to men and women, and by the 1950s, he was a true superstar despite a brief prison term for marijuana usage in 1949, which seemed to enhance rather than diminish his "bad boy" appeal. Though seemingly dismissive of "art," he worked in tremendously artistically thoughtful projects such as Charles Laughton's The Night of the Hunter (1955) and even co-wrote and composed an oratorio produced at the Hollywood Bowl by Orson Welles. A master of accents and seemingly unconcerned about his star image, he played in both forgettable and unforgettable films with unswerving nonchalance, leading many to overlook the prodigious talent he can bring to a project that he finds compelling. He moved into television in the 1980s as his film opportunities diminished, winning new fans with The Winds of War (1983) and War and Remembrance (1988). His sons James Mitchum and Christopher Mitchum are actors, as is his grandson Bentley Mitchum. His last film was James Dean: Race with Destiny (1997) with Casper Van Dien as James Dean.719 points- Actor
- Soundtrack
Herbert Marshall had trained to become a certified accountant, but his interest turned to the stage. He lost a leg while serving in World War I and was rehabilitated with a wooden leg. This did not stop him from making good his decision to make the stage his vocation. He used a very deliberate square-shouldered and guided walk, largely unnoticeable, to cover up his disability. He spent 20 years in distinguished stage work in London before entering films. He almost made the transition from the stage directly to sound movies except for one silent film, Mumsie (1927), produced in Great Britain. His wonderfully mellow baritone and British accent rolled out with a minimum of mouth movement and a nonchalant ease that stood out as unique. His rather blasé demeanor could take on various nuances, without overt emotion, to fit any role he played, whether sophisticated comedy or drama, and the accent fit just as well. He filled the range from romantic lead, with several sympathetic strangers thrown in, to dignified military officer to doctor to various degrees of villainy, his unemotional delivery meshing with the cold, impassive criminal character.
He was almost 40 when he appeared in his first picture in Hollywood, The Letter (1929), a film worthy of comparison (but for the primitive sound recording) to the more famous second version (The Letter (1940)) with Bette Davis. Marshall is the murder victim in 1929 and the betrayed husband in 1940. He was heavily in demand in the 1930s, sometimes in five or six pictures a year. Perhaps his best suave comedic role was in Trouble in Paradise (1932), the first non-musical sound comedy by producer-director Ernst Lubitsch--to some, Lubitsch's greatest film. That same year, Marshall did one of his most warmly human, romantic roles in the marvelously erotic Blonde Venus (1932), with the captivating Marlene Dietrich.
Through the '40s, his roles were more of the character variety, but always substantial. He was deviously subtle as the pre-World War II peace leader actually working against peace for a veiled foreign power (Germany) in Foreign Correspondent (1940). The film was one of Alfred Hitchcock 's earliest Hollywood films and definitely an under-rated thriller. Who could forget Marshall's small but standout performance as "Scott Chavez", who at the beginning of Duel in the Sun (1946), with typical Marshall nonchalance, calmly shoots his Indian cantina-entertainer wife for her cheating ways? By the '50s, Marshall was doing fewer movies, but still in varied genres. His voice was perfect to lend credence to some early sci-fi classics, such as Riders to the Stars (1954) and Gog (1954) and the The Fly (1958). He was also busy honing his considerable talent with various early-TV playhouse programs. He also fit comfortably into episodic TV, including a rare five-episode run as a priest on 77 Sunset Strip (1958). All told, Herbert Marshall graced nearly 100 movie and TV roles with an aplomb that remains a rich legacy.719 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.715 points- Actor
- Producer
- Camera and Electrical Department
Alan Walbridge Ladd was born in Hot Springs, Arkansas, the only child of Ina Raleigh (aka Selina Rowley) and Alan Harwood Ladd, a freelance accountant. His mother was English, from County Durham. His father died when he was four. At age five, he burned his apartment playing with matches, and his mother moved them to Oklahoma City. He was malnourished, undersized and nicknamed Tiny. His mother married a house painter who moved them to California--a la "The Grapes of Wrath"--when he was eight. He picked fruit, delivered papers, and swept stores. In high school he discovered track and swimming. By 1931 he was training for the 1932 Olympics, but an injury put an end to those plans. He opened a hamburger stand called Tiny's Patio, and later worked as a grip at Warner Brothers Pictures. He married his friend Midge in 1936, but couldn't afford her, so they lived apart. In 1937, they shared a friend's apartment. They had a son, Alan Ladd Jr., and his destitute alcoholic mother moved in with them, her agonizing suicide from ant poison witnessed a few months later by her son. His size and coloring here regarded as not right for movies, so he worked hard at radio, where talent scout and former actress Sue Carol discovered him early in 1939. After a string of bit parts in "B" pictures--and an unbilled part in Orson Welles' classic Citizen Kane (1941)--he tested for This Gun for Hire (1942) late in 1941. His fourth-billed role as psychotic killer Raven made him a star. He was drafted in January 1943 and discharged in November with an ulcer and double hernia. Throughout the 1940s his tough-guy roles packed audiences into theaters and he was one of the very few males whose cover photos sold movie magazines. In the 1950s he was performing in lucrative but unrewarding films (an exception being what many regard as his greatest role, Shane (1953)). By the end of the 1950s liquor and a string of so-so films had taken their toll. In November 1962 he was found unconscious lying in a pool of blood with a bullet wound near his heart, a probable suicide attempt. In January 1964 he was found dead, apparently due to an accidental combination of alcohol and sedatives.713 points- Actor
- Soundtrack
Craggy-faced, dependable star character actor Van Heflin never quite made the Hollywood "A" list, but made up for what he lacked in appearance with hard work, charisma and solid acting performances. He was born Emmett Evan Heflin in Oklahoma in December 1908, the son of Fanny Bleecker (Shippey) and Emmett Evan Heflin, a dental surgeon. When his parents separated his brother and sister stayed with his mother, while he was farmed out to his grandmother in California. He was never quite settled and his restless spirit led him to ship out on a tramp steamer after graduating from school. After a year at sea he studied for a law degree at the University of Oklahoma, but after two years he decided he had enough and went back to sailing the Pacific. When he returned he decided to try his hand at acting and enrolled at the prestigious Yale School of Drama. His first foray into theatre was the comedy "Mister Moneypenny" (1928) (credited as "Evan Heflin"). It was indifferently received and Van went back to sea, this time for three years. In 1934 he returned to the stage in the plays "The Bride of Torozko" and "The Night Remembers", both outright disasters.
His big break came in 1936, when he landed a good leading role as a radical leftist at odds with the established elite in the S.N. Behrman comedy of manners, "End of Summer" at the Guild Theatre. Critic Brooks Atkinson, praising the play and the actors, commended the "sparkling dialogue" and "fluent and sunny performance" (New York Times, February 18 1936). Katharine Hepburn, who saw him on stage, then persuaded Van to take a swing at film acting and finagled a role for him alongside her in the Pandro S. Berman production A Woman Rebels (1936). Van spent a year at RKO in forgettable films, with roles ranging from a reverend in The Outcasts of Poker Flat (1937) to a top-billed part as a burnt-out quarterback in Saturday's Heroes (1937). By 1939 Van was back on stage, rather more successfully, in "The Philadelphia Story" at the Shubert Theatre. The hit play, which also starred Vera Allen, Shirley Booth and Joseph Cotten, ran for 417 performances, closing in March 1940. That same year he appeared for Warner Brothers in the entertaining but historically inaccurate western Santa Fe Trail (1940), Bosley Crowther describing his performance, above other cast members, as containing "the sharpest punch" (New York Times, December 21 1940).
On the strength of these performances, Van was signed to a contract at MGM, where he remained for eight years (1941-49). His tenure was interrupted only by two years of wartime service as a combat photographer with the U.S. 9th Air Force, First Motion Picture Unit, which produced training and morale-boosting short films. Back at MGM, his third assignment at the studio, Johnny Eager (1941), had proved an excellent showcase for his acting skills. He played Jeff Hartnett, right-hand man of the titular crime figure (Robert Taylor), a complex, sardonic character, at once loyal soldier yet abjectly self-loathing. For his role as the heavy-drinking, Shakespeare-quoting mobster with a conscience, Van got the Academy Award as Best Supporting Actor in 1942. He was immediately cast in the leading role as a forensically-minded detective in Kid Glove Killer (1942), a film which marked the debut of Fred Zinnemann as a feature director. This was in turn followed by another B-movie whodunit, Grand Central Murder (1942).
The prestigious--but not always accurate--historical drama Tennessee Johnson (1942) saw Van playing Andrew Johnson, the 17th US president. While the film was a critical success, it did less well at the box office. The New York Times commented on the "sincerity and strength" of his performance, adding "Mr. Heflin, in a full-bodied, carefully delineated portrait of a passionate man, gives decisive proof that his talents have thus far been haphazardly used" (January 13, 1943). In between wartime service and two musicals, Presenting Lily Mars (1943) and the Jerome Kern biopic Till the Clouds Roll By (1946), Van appeared in the excellent film noir The Strange Love of Martha Ivers (1946) with Barbara Stanwyck (as the inevitable femme fatale) and Kirk Douglas (as an alcoholic district attorney). As the sympathetic gambler Sam who returns to his home town, ostensibly to expose the dirty secrets of the main protagonists, Van had more on-screen time than his illustrious co-stars and some good lines to boot. Van put his tough-guy screen persona to good use in enacting Raymond Chandler's wisecracking gumshoe Philip Marlowe on NBC radio from June 1947, with 19 real-life Los Angeles detectives among the live audience.
During the next few years the versatile Heflin dealt capably with a wide variety of assignments. He appeared as a jilted lover in the expensively-produced costume drama Green Dolphin Street (1947); he was Athos, one of The Three Musketeers (1948) and an ex-GI on the trail of a psychopathic prison camp informer in Fred Zinnemann's Act of Violence (1948); poignant as the unloved Monsieur Bovary in Madame Bovary (1949); an ex-cop in love with a high-flying socialite in the melodrama East Side, West Side (1949); and a cop whose affair with a married woman leads to a plot to kill her husband in The Prowler (1951).
The 1950s saw Van's progression from leading man to star character actor. Having left MGM in 1949, he was signed in this capacity to several short-term contracts by Universal (1951-54), 20th Century Fox (1954), Columbia (1957-59) and Paramount (1959-60). Apart from the big-business drama Patterns (1956), he is best remembered in this decade for his portrayal of western characters with integrity and singularity of purpose: as the struggling homesteader at the mercy of a ruthless cattle baron who befriends Shane (1953); the desperate, single-minded rancher trying to get a captured outlaw on the 3:10 to Yuma (1957); and the tough, uncompromisingly stern father forced to kill his errant son in Gunman's Walk (1958).
With the possible exception of his sympathetic German captain of a World War II surface raider in the offbeat international co-production Under Ten Flags (1960) (aka "Under Ten Flags"), Heflin had few roles of note in the 1960s. He appeared in the calamitous flop The Greatest Story Ever Told (1965) and the equally disastrous Stagecoach (1966) remake. One of his last performances was as the deranged bomber in Airport (1970). His final curtain call on stage was as Robert Sloane in "A Case of Libel" (1963-64) on Broadway.
Unlike many of his peers, Van shunned the limelight and was never a part of the Hollywood glamour set. A well-liked, introspective and talented performer, he died of a heart attack in July 1971, aged just 62.713 points- Actor
- Producer
- Director
Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name of his best-selling 1988 autobiography) to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born on December 9, 1916 in Amsterdam, New York. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. Professional wrestling helped pay for his studies as did working on the side as a waiter and a bellboy. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He made his Broadway debut in "Spring Again" before his career was interrupted by World War II. He joining the United States Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall, movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1947), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now."
After appearing in "I Walk Alone," Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli. In 1955, Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence, Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.
Douglas remained busy throughout the 1960s, starring in many films. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally in 1963, he starred in an onstage production of Ken Kesey's "One Flew Over the Cuckoo's Nest," but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson. Into the 1970s, Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).
Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded with the Presidential Medal of Freedom (1981), and with the Jefferson Award (1983). Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remained active and continued to appear in front of the camera. Until his passing on February 5 2020 at the age of 103, he and Olivia de Havilland were the last surviving major stars from the Golden Years of Hollywood.712 points- Actor
- Director
- Producer
Esteemed character actor Paul Stewart had a pair of the coldest orbs in town and made his living for decades playing dark, callous, shiftless villains, including a vast number of mobsters. Not a well-known name per se, he was nevertheless a reliable actor who seemed to have been born for the film noir and gangland crime drama genre with his premature silvery hair, dark thick brows and probing, deep-set eyes, all accentuated by a tough and penetrating Brooklyn accent.
Born in New York City on March 13, 1908, Stewart developed an interest for acting in his teens, making his Broadway debut with "Two Seconds" in 1931, following graduation from Columbia University. He had played a few more stage roles in New York when he met and made an impression on Orson Welles. As a result he became a founding member of the Mercury Theatre and a founding member of AFTRA when it was just a radio union.
Stewart's tough, guttural voice became a familiar sound on the 1930s airwaves and he was among the cast in the infamous Welles broadcast "The War of the Worlds." He married band singer/actress Peg La Centra (1910-1996) in 1939 and over the years they appeared together on many radio programs. She also provided singing voices for such stars as Susan Hayward on celluloid. Welles next put Stewart in his films, with the classic Citizen Kane (1941) as Raymond, Kane's wily valet, and Stewart found himself in demand as an untrustworthy character player.
Paul went on to essay a number of stark, sinister types to perfection, with roles in such films as Johnny Eager (1941), Mr. Lucky (1943), Champion (1949), Illegal Entry (1949), Twelve O'Clock High (1949), Carbine Williams (1952), The Bad and the Beautiful (1952) and Kiss Me Deadly (1955).
On TV, Paul became a regular on a couple of short-lived series -- Top Secret (1954) and The Man Who Never Was (1966). In the 1950s Stewart turned to stage and TV directing as well, helming a number of popular crimers such as Peter Gunn (1958), Michael Shayne (1960), It Takes a Thief (1968), Hawaii Five-O (1968) and Remington Steele (1982). His voice also fit the bill for cartoons in the 1960s.
In 1974 Stewart suffered a heart attack while on location in New Mexico for Bite the Bullet (1975), but he returned sporadically to films, including the role of impresario Florenz Ziegfeld in W.C. Fields and Me (1976). He suffered a second and fatal heart attack in 1986 at age 77.712 points- Actor
- Director
- Soundtrack
Patrick Barry Sullivan was born on August 29, 1912 in New York City. While never a major movie star, he established himself as a well-known and highly regarded character lead and second lead in motion pictures and television in a career that lasted 50 years. Legend has it that Sullivan was counseled to consider a life in the theater due to his height (6'3") and good looks. He was supporting himself as a theater usher and department store employee when made his Broadway debut in "I Want a Policeman" at the Lyceum Theatre in January 1936. Unfortunately, the show lasted only 47 performances.
In 1936, he appeared in three other plays on the Great White Way, the drama "St. Helena" and the comedies "All That Glitters" and "Eye On the Sparrow." All three were flops. Sullivan finally appeared in a hit play when he transferred into the role of Bert Jefferson in The Man Who Came to Dinner (1941) by Moss Hart and George S. Kaufman. However the 1941-42 season brought three more flops: "Mr. Big", "Ring Around Elizabeth", and "Johnny 2 X 4". Wisely, he stayed away from Broadway for a decade, when he again transferred into a hit, "The Caine Mutiny Court-Martial," taking over the role of Barney Greenwald from Henry Fonda. Sullivan was nominated for a Best Actor Emmy Award in 1955 when he reprised the role on The Caine Mutiny Court-Martial (1955). His last appearance on Broadway, in the original "Too Late the Phalarope" in 1956, was, true to his performance record, a flop. Barry Sullivan's talent was meant for the screen.
In the late 1930s, he gained movie acting experience in two-reel comedies produced by the Manhattan-based Educational Studios. After giving up on his Broadway career and moving to Hollywood, Sullivan appeared in an uncredited bit part in "The Green Hornet Strikes Again! (1940) (1941) at Universal before making his official film debut in the Chester Morris B-picture High Explosive (1943) (1943) at Paramount. His next picture was The Woman of the Town (1943), which was released by United Artists that same year.
Barry Sullivan never broke through to become a major star -- but he did establish himself firmly in character lead and second lead roles. He excelled at roles in which he could play aggressive characters that highlighted his centered masculinity. His most notable roles in the early part of his movie career were as the eponymous The Gangster (1947), Tom Buchanan in the Alan Ladd version of The Great Gatsby (1949) (second lead), and as the movie director in The Bad and the Beautiful (1952) as part of a first rate ensemble. He had his own TV series Harbourmaster (1957) in 1957-58 and The Tall Man (1960) in 1960-62. A decade later, his acting skills were used to fine effect in two prestigious productions of stage plays as George C. Scott's brother in the Emmy Award-winning TV adaptation of Arthur Miller's The Price (1971) and the amoral patriarch in Lillian Hellman's Another Part of the Forest (1972). He continued acting in movies until 1977, rounding off a near 40-year movie career with an appearance in Oh, God! (1977). He continued to appear periodically on television until retiring in 1980.
Sullivan was married three times and fathered three children, Johnny and Jenny Sullivan by his first wife, and Patsy Sullivan-Webb by his second wife Gita Hall. The Sullivan talent has run into three generations. Jenny Sullivan became an actress and a playwright, writing the drama "J for J" ("Journal for John") based on the correspondence between her father and her brother, who was mentally disabled. She was married to the rock star Jim Messina.
Patsy Sullivan-Webb was a successful model who appeared as the face of Yardley Cosmetics in the Swinging '60s, starting at the age of twelve. She appeared with her father in the episode of That Girl (1966) that opened the series' third season and was a contestant on The Dating Game (1965). She married the great songwriter Jimmy Webb, by whom she had six children. Two of her sons formed the rock group The Webb Brothers.
Barry Sullivan died of a respiratory ailment on June 6, 1994 in Sherman Oaks, California. He was 81 years old.711 points- Actor
- Producer
- Art Department
John Wayne was born Marion Robert Morrison in Iowa, to Mary Alberta (Brown) and Clyde Leonard Morrison, a pharmacist. He was of English, Scottish, Ulster-Scots, and Irish ancestry.
Clyde developed a lung condition that required him to move his family from Iowa to the warmer climate of southern California, where they tried ranching in the Mojave Desert. Until the ranch failed, Marion and his younger brother Robert E. Morrison swam in an irrigation ditch and rode a horse to school. When the ranch failed, the family moved to Glendale, California, where Marion delivered medicines for his father, sold newspapers and had an Airedale dog named "Duke" (the source of his own nickname). He did well at school both academically and in football. When he narrowly failed admission to Annapolis he went to USC on a football scholarship 1925-7. Tom Mix got him a summer job as a prop man in exchange for football tickets. On the set he became close friends with director John Ford for whom, among others, he began doing bit parts, some billed as John Wayne. His first featured film was Men Without Women (1930). After more than 70 low-budget westerns and adventures, mostly routine, Wayne's career was stuck in a rut until Ford cast him in Stagecoach (1939), the movie that made him a star. He appeared in nearly 250 movies, many of epic proportions. From 1942-43 he was in a radio series, "The Three Sheets to the Wind", and in 1944 he helped found the Motion Picture Alliance for the Preservation of American Ideals, a Conservative political organization, later becoming its President. His conservative political stance was also reflected in The Alamo (1960), which he produced, directed and starred in. His patriotic stand was enshrined in The Green Berets (1968) which he co-directed and starred in. Over the years Wayne was beset with health problems. In September 1964 he had a cancerous left lung removed; in 1977 when Star Wars: Episode IV - A New Hope was being made, John Waynes archive voice was used for the character Garindan ezz Zavor, later in March 1978 there was heart valve replacement surgery; and in January 1979 his stomach was removed. He received the Best Actor nomination for Sands of Iwo Jima (1949) and finally got the Oscar for his role as one-eyed Rooster Cogburn in True Grit (1969). A Congressional Gold Medal was struck in his honor in 1979. He is perhaps best remembered for his parts in Ford's cavalry trilogy - Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950).710 points- Actor
- Additional Crew
- Composer
The son of Italian theatre critic Antonio Cervi, Gino Cervi was one of the most famous Italian actors, first on stage, then on screen and finally on television. He appeared in his first play in 1924, a year after his father's death. He won world fame with three movies directed by Alessandro Blasetti: Aldebaran (1935), Ettore Fieramosca (1938), and An Adventure of Salvator Rosa (1939). After the WWII, his film career flourished, and then on television, he found new fame as Inspector Jules Maigret in a series of TV Movies based on the novels of Georges Simenon.709 points- Actor
- Additional Crew
- Soundtrack
Ivan Desny was born on 28 December 1922 in Peking, China [now Beijing, China]. He was an actor, known for The Marriage of Maria Braun (1979), Guns for San Sebastian (1968) and Wrong Move (1975). He was married to Ghislaine Arsac. He died on 13 April 2002 in Ascona, Switzerland.709 points- Actor
- Writer
- Soundtrack
Joseph Cheshire Cotten, Jr. was born in Petersburg, Virginia, into a well-to-do Southern family. He was the eldest of three sons born to Sally Whitworth (Willson) and Joseph Cheshire Cotten, Sr., an assistant postmaster.
Jo (as he was known) and his brothers Whit and Sam spent their summers at their aunt and uncle's home at Virginia Beach. And there and at an early age he discovered a passion for story-telling, reciting, and performing acts for his family. Cotten studied acting at the Hickman School of Expression in Washington, D.C. and worked as an advertising agent afterward. But by 1924 tried to enter acting in New York. His money opportunities were limited to shipping clerk, and after a year of attempting stage work, he left with friends, heading for Miami. There he found a variety of jobs: lifeguard, salesman, a stint as entrepreneur -- making and selling 'Tip Top Potato Salad' - but more significantly, drama critic for the Miami Herald. That evidently led to appearance in plays at the Miami Civic Theater. Through a connection at the Miami Herald he managed to land an assistant stage manager job in New York. In 1929 he was engaged for a season at the Copley Theatre in Boston, and there he was able to expand his acting experience, appearing in 30 plays in a wide variety of parts. By 1930 he made his Broadway debut. In 1931 Cotten married Lenore LaMont (usually known as Kipp), a pianist, divorced with a four-year-old daughter.
To augment his income as an actor in the mid-30s, Cotten took on radio shows in addition to his theatre work. At one audition he met an ambitious, budding actor/writer/director/producer with a mission to make his name-Orson Welles. Cotten was 10 years his senior, but the two found a kindred spirit in one another. For Cotten, Welles association would completely redirect his serious acting life. Their early co-acting attempts boded ill for employment in formal acting vehicles. At a rehearsal for CBS radio the two destroyed a scene taking place on a rubber tree plantation. One or the other was supposed to say the line: "Barrels and barrels of pith...." They could not overcome uncontrolled laughter at each attempt. The director berated them as acting like 'school-children' and 'unprofessional', and thereafter both were considered unreliable. Welles's ambition put that quickly behind them when he formed The Mercury Theatre Players. Coming on board were later Hollywood stalwarts: Everett Sloane, Agnes Moorehead, Ruth Warrick, and Ray Collins. In 1937, Cotten starred in Welles's Mercury productions of "Julius Caesar" and "Shoemaker's Holiday". And he made his film debut in the Welles-directed short Too Much Johnson (1938), a comedy based on William Gillette's 1890 play. The short was occasionally screened before or after Mercury productions, but never received an official release. Cotten returned to Broadway in 1939, starring as C.K. Dexter Haven in the original production of Philip Barry's "The Philadelphia Story". The uproar over Welles's "War of the Worlds" radio broadcast, was rewarded with an impressive contract from RKO Pictures. The two-picture deal promised full creative control for the young director, and Welles brought his Mercury players on-board in feature roles in what he chose to bring to the screen. But after a year, nothing had germinated until Welles met with writer Herman J. Mankiewicz, resulting in the Citizen Kane (1941) idea - early 1940. The story of a slightly veiled William Randolph Hearst with Welles as Kane and Cotten, in his Hollywood debut, as his college friend turned confidant and theater critic, Jed Leland, would become film history, but at the time it caused little more than a ripple. Hearst owned the majority of the country's press outlets and so forbade advertisements for the film. The film was nominated for nine Academy Awards in 1942 but was largely ignored by the Academy, only winning for Best Screenplay for Welles and Mankiewicz.
The following year Cotten and Welles collaborated again in The Magnificent Ambersons (1942), acclaimed but again ignored at Oscar time, and the next year's Nazi thriller Journey Into Fear (1943). Cotten, along with some Welles ideas, wrote the screenplay. Welles with his notorious overrunning of budgeting was duly dropped by RKO thereafter. Later in 1943 Cotten's exposure and acquaintance with young producer David O. Selznick resulted in a movie contract and the launching of his mainstream and very successful movie career as a romantic leading man. Thereafter he appeared with some of the most leading of Hollywood leading ladies - a favorite being Jennifer Jones, Selznick's wife with the two of them being his most intimate friends. Cotten got the opportunity to play a good range of roles through the 1940s - the darkest being the blue beard-like killer in Alfred Hitchcock thriller Shadow of a Doubt (1943) with Teresa Wright. Perhaps the most fun was The Farmer's Daughter (1947) with a vivacious Loretta Young. Cotten starred with Jennifer Jones in four films: the wartime domestic drama Since You Went Away (1944), the romantic drama Love Letters (1945), the western Duel in the Sun (1946), and later in the critically acclaimed Portrait of Jennie (1948), from the haunting Robert Nathan book. Cotten is thoroughly convincing as a second-rate, unmotivated artist who finds inspiration from a chance acquaintance budding into love with an incarnation of a girl who died years before. Welles and Cotten did not work again until The Third Man (1949), directed by Carol Reed. For Cotten, the role as the hapless boyhood friend and second-rate novel writer Holly Martins would be a defining moment in a part both comedic and bittersweet, its range making it one of his best performances. Unfortunately, he was again overlooked for an Oscar.
Cotten was kept in relative demand into his mature acting years. Into the 1950s, he reunited with "Shadow Of A Doubt" co star Thereas Wright, to do the memorable bank caper "The Steel Trap"(1952).He co stared with Jean Peters in "Blueprint For A Murder"(1953). For the most part, the movie roles were becoming more B than A. He had a brief role as a member of the Roman Senate, reuniting with lifelong friend Welles in his Othello (1951). There were a few film-noir outings along with the usual fare of the older actor with fewer roles. However, he was much more successful in returning to theater roles in the new television playhouse format. He also did some episodic TV and some series ventures, as with On Trial, which was later called The Joseph Cotten Show. He had a memorable role in an Alfred Hitchcock Presents, "Breakdown", where he was a man in a lone and isolated car accident, trapped and unable to speak. He voices over and shows his great acting skill simply through facial expressions. His one last stint with Welles was uncredited and sort of Jed Leland-revisited as the hokey coroner early in Welles's over-the-top Touch of Evil (1958). Of his association with Welles, Cotten said: "Exasperating, yes. Sometimes eruptive, unreasonable, ferocious, yes. Eloquent, penetrating, exciting, and always - never failingly even at the sacrifice of accuracy and at times his own vanity - witty. Never, never, never dull."
With the passing of his first wife in 1960 Cotten met and married British actress Patricia Medina. The 1960s found him equally busy in TV and film. He made the circuit of the most popular detective and cowboy series of the period. By 1964 he returned to film with the money making old-Hollywood-dame- horror-movie genre hit Hush...Hush, Sweet Charlotte (1964) with other vintage Hollywood legends Bette Davis, Olivia de Havilland, and Agnes Moorehead. His other films of that decade were of the quick entertainment variety along with some foreign productions, and TV movies. There were also more TV series and guests appearances, especially The Ed Sullivan Show, a popular stop during its long run. In the 1970s Cotten was still in demand-for even more of the curiosity-appeal of the populace for an older star. Along with the new assortment of TV series, he anchored himself at Universal with small parts in forgettable movies, the sluggish Universal epic dud Tora! Tora! Tora! for instance, and the steady diet of TV series being cranked out there. Though older actors have laughed in public about their descent into cheap horror movies, one can only wonder at the impetus to do them -- by such greats, as Claude Rains -- besides a can't-pass-up alluring salary.
Cotten did the campy The Abominable Dr. Phibes (1971) with Vincent Price and about that time two second rate Italian horror outings where he was Baron Blood and Baron Frankenstein. Then again there was better exposure in the Universal minor sci-fi classic Soylent Green (1973). And in yet another Universal sequel, where the profit-logic was to gather a cast of veterans from the Hollywood spectrum in any situation spelling disaster and watch the ticket sales skyrocket, Cotten joined the all-star cast of Airport '77 (1977). He rounded out the decade with the ever faddish Fantasy Island and more Universal TV rounds. This contributor met and worked with Joseph Cotten during this latter evolution of one of Hollywood's greats. He wore his own double-breasted blue blazer and tan slacks in several roles - no need for wardrobe. His pride and joy was a blue 1939 Jaguar SS, something of a fixture on the Universal lot.
Cotten was not ready to turn his back on Hollywood until the beginning of the 1980s when he managed to appear in the epic flop Heaven's Gate (1980). After a Love Boat episode (1981), Cotten joined his wife and his love of gardening and entertaining friends in retirement. He also had the time to write an engaging autobiography Vanity Will Get You Somewhere (1987). Cotten's somewhat matter-of-fact and seemingly gruff acting voice served him well. Certainly his command of varied roles deserved more than the snub of never being nominated for an Academy Award. He was not the only actor to suffer being underrated, but that is largely forgotten in those memorable roles that speak for him. And for what it is worth, the Europeans had the very good sense to award him the Venice Film Festival Award for Best Actor for Portrait of Jennie, one of his favorite roles.708 points- Actor
- Producer
- Additional Crew
The British actor Michael Rennie worked as a car salesman and factory manager before he turned to acting. A meeting with a Gaumont-British Studios casting director led to Rennie's first acting job - that of stand-in for Robert Young in Secret Agent (1936) directed by Alfred Hitchcock. He put his film career on hold for a few years to get some acting experience on the stage, working in repertory in York and Windsor. Afterwards, he returned to films and achieved star status in I'll Be Your Sweetheart (1945). Brought to Hollywood in 1950 and signed to a contract by studio head Darryl F. Zanuck, Rennie was cast in arguably his most popular role as Klaatu in The Day the Earth Stood Still (1951), when director Robert Wise's first choice, Claude Rains, was unavailable. After that he worked as a supporting actor for eight years until his return to England in 1959. At that time, he took the lead role of Harry Lime in the television series The Third Man (1959). Throughout his career, he made numerous guest appearances on television, particularly on American programs.706 points- Actor
- Director
- Additional Crew
Actor/director/producer Mel Ferrer was born Melchor Gaston Ferrer on August 25, 1917, in Elberon, New Jersey. The son of a Cuban-born surgeon and a Manhattan socialite, he went to prep school and attended Princeton University. From the age of 15 he worked in summer stock. After Princeton he became an editor on a small Vermont newspaper and wrote a children's book, "Tito's Hats." He became a chorus dancer on Broadway in 1938 in two musicals and made his New York debut as an actor two years later. After a bout with polio he started in radio as a disc jockey in Texas and Arkansas and rose to producer-director of top-rated shows for NBC in New York. He made a modest debut as a director at Columbia with the low-budget The Girl of the Limberlost (1945), then returned to acting on Broadway to star in Lillian Smith's "Strange Fruit." He was John Ford's assistant on The Fugitive (1947).
Ferrer made his screen acting debut in Lost Boundaries (1949). He is best remembered for the role of the lame puppeteer in Lili (1953) and as Prince Andrei in War and Peace (1956). He directed Claudette Colbert in The Secret Fury (1950) and Audrey Hepburn - his wife at the time - in Green Mansions (1959). Ferrer produced the hit Wait Until Dark (1967), also with Hepburn. In the following year, the couple separated and ultimately divorced. Since 1960 had been producing and acting mainly in Europe.703 points