The Best Actress 1954
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- Actress
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On November 12, 1929, Grace Patricia Kelly was born in Philadelphia, Pennsylvania to wealthy parents. Her girlhood was uneventful for the most part, but one of the things she desired was to become an actress which she had decided on at an early age. After her high school graduation in 1947, Grace struck out on her own, heading to New York's bright lights to try her luck there. Grace worked some as a model and made her debut on Broadway in 1949. She also made a brief foray into the infant medium of television. Not content with the work in New York, Grace moved to Southern California for the more prestigious part of acting -- motion pictures. In 1951, she appeared in her first film entitled Fourteen Hours (1951) when she was 22. It was a small part, but a start nonetheless. The following year she landed the role of Amy Kane in High Noon (1952), a western starring Gary Cooper and Lloyd Bridges which turned out to be very popular. In 1953, Grace appeared in only one film, but it was another popular one. The film was Mogambo (1953) where Grace played Linda Nordley. The film was a jungle drama in which fellow cast members, Clark Gable and Ava Gardner turned in masterful performances. It was also one of the best films ever released by MGM. Although she got noticed with High Noon, her work with director Alfred Hitchcock, which began with Dial M for Murder (1954) made her a star. Her standout performance in Rear Window (1954) brought her to prominence. As Lisa Fremont, she was cast opposite James Stewart, who played a crippled photographer who witnesses a murder in the next apartment from his wheelchair. Grace stayed busy in 1954 appearing in five films. Grace would forever be immortalized by winning the Academy Award for Best Actress for her portrayal of Georgie Elgin opposite Bing Crosby in The Country Girl (1954). In 1955, Grace once again teamed with Hitchcock in To Catch a Thief (1955) co-starring Cary Grant. In 1956, she played Tracy Lord in the musical comedy High Society (1956) which also starred Frank Sinatra and Bing Crosby. The whimsical tale ended with her re-marrying her former husband, played by Crosby. The film was well received. It also turned out to be her final acting performance. Grace had recently met and married Prince Rainier of the little principality of Monaco. By becoming a princess, she gave up her career. For the rest of her life, she was to remain in the news with her marriage and her three children. On September 14, 1982, Grace was killed in an automobile accident in her adoptive home country. She was just 52 years old.3109 points- Actress
- Director
- Soundtrack
Tanaka Kinuyo was a highly regarded and prolific actress best known for her films with director Mizoguchi Kenji. She was immersed in the world of film having received her start in the world of entertainment at age fourteen, being a filmmaker herself, being the cousin of director Kobayashi Masaki and, very much like Hara Setsuko and Ozu Yasujiro, being anecdotally romantically linked with the aforementioned Mizoguchi. The director would later recommend against her being hired as a director, which caused a rift between the two. She received her first known credit in Shochiku's Genroku Onna in 1924. She stayed to become the studio's biggest actress, and a paradigm of beauty, until approximately 1949 when she travelled to the United States Of America as an ambassador of Japanese culture. Upon her return from the US the Japanese detected a change of attitude in her, as well as noting a new short hairdo, which momentarily lead to some criticism. She had married director Shimizu Hiroshi, with whom she had worked, in 1929. Sources claim this was a mere cohabitation however. The marriage lasted a matter of months, but the two worked together beyond their romantic union. She married another one of her directors Gosho Heinosuke, but not before also starring in several Ozu films. It looked like films like Aizen Katsu and Naniwa Onna would be the height of her fame with all their popularity, but post-war films like Life Of Oharu, Sansho The Bailiff and Ugetsu were even bigger classics and immortalized the actress. Another of her many other noteworthy performances was in The Ballad Of Narayama based on a tradition and folklore of Japan. As if to complete her tour de force of Japanese cinema she directed several films and even worked with Kurosawa Akira in Red Beard. She died of a brain tumor in 1977.1515 points- Actress
- Soundtrack
Today Barbara Stanwyck is remembered primarily as the matriarch of the family known as the Barkleys on the TV western The Big Valley (1965), wherein she played Victoria, and from the hit drama The Colbys (1985). But she was known to millions of other fans for her movie career, which spanned the period from 1927 until 1964, after which she appeared on television until 1986. It was a career that lasted for 59 years.
Barbara Stanwyck was born Ruby Catherine Stevens on July 16, 1907, in Brooklyn, New York, to working class parents Catherine Ann (McPhee) and Byron E. Stevens. Her father, from Massachusetts, had English ancestry, and her Canadian mother, from Nova Scotia, was of Scottish and Irish descent. Stanwyck went to work at the local telephone company for fourteen dollars a week, but she had the urge (a dream--that was all it was) somehow to enter show business. When not working, she pounded the pavement in search of dancing jobs. The persistence paid off. Barbara was hired as a chorus girl for the princely sum of $40 a week, much better than the wages she was getting from the phone company. She was seventeen, and was going to make the most of the opportunity that had been given her.
In 1928 Barbara moved to Hollywood, where she was to start one of the most lucrative careers filmdom had ever seen. She was an extremely versatile actress who could adapt to any role. Barbara was equally at home in all genres, from melodramas, such as Forbidden (1932) and Stella Dallas (1937), to thrillers, such as Double Indemnity (1944), one of her best films, also starring Fred MacMurray (as you have never seen him before). She also excelled in comedies such as Remember the Night (1939) and The Lady Eve (1941). Another genre she excelled in was westerns, Union Pacific (1939) being one of her first and TV's The Big Valley (1965) (her most memorable role) being her last. In 1983, she played in the ABC hit mini-series The Thorn Birds (1983), which did much to keep her in the eye of the public. She turned in an outstanding performance as Mary Carson.
Barbara was considered a gem to work with for her serious but easygoing attitude on the set. She worked hard at being an actress, and she never allowed her star quality to go to her head. She was nominated for four Academy Awards, though she never won. She turned in magnificent performances for all the roles she was nominated for, but the "powers that be" always awarded the Oscar to someone else. However, in 1982 she was awarded an honorary Academy Award for "superlative creativity and unique contribution to the art of screen acting." Sadly, Barbara died on January 20, 1990, leaving 93 movies and a host of TV appearances as her legacy to us.1475 points- Actress
- Costume and Wardrobe Department
- Soundtrack
Kim Novak was born in Chicago, Illinois on February 13, 1933 with the birth name of Marilyn Pauline Novak. She was the daughter of a former teacher turned transit clerk and his wife, also a former teacher. Throughout elementary and high school, Kim did not get along well with teachers. She even admitted that she didn't like being told what to do and when to do it.
Her first job, after high school, was modeling teen fashions for a local department store. Kim, later, won a scholarship in a modeling school and continued to model part-time. Kim later worked odd jobs as an elevator operator, sales clerk, and a dental assistant. The jobs never seemed to work out so she fell back on modeling, the one job she did well.
After a stint on the road as a spokesperson for an appliance company, Kim decided to go to Los Angeles and try her luck at modeling there. Ultimately, her modeling landed her an uncredited role in the RKO production of The French Line (1953). The role encompassed nothing more than being seen on a set of stairs.
Later a talent agent arranged for a screen test with Columbia Pictures and won a small six month contract. In truth, some of the studio hierarchy thought that Kim was Columbia's answer to Marilyn Monroe. Kim, who was still going by her own name of Marilyn, was originally going to be called "Kit Marlowe". She wanted to at least keep her family name of Novak, so the young actress and studio personnel settled on Kim Novak.
After taking some acting lessons, which the studio declined to pay for, Kim appeared in her first film opposite Fred MacMurray in Pushover (1954). Though her role as "Lona McLane" wasn't exactly a great one, it was her classic beauty that seemed to capture the eyes of the critics. Later that year, Kim appeared in the film, Phffft (1954) with Jack Lemmon and Judy Holliday. Now more and more fans were eager to see this bright new star. These two films set the tone for her career with a lot of fan mail coming her way.
Her next film was as "Kay Greylek" in 5 Against the House (1955). The film was well-received, but it was her next one for that year that was her best to date. The film was Picnic (1955). Although Kim did a superb job of acting in the film as did her co-stars, the film did win two Oscars for editing and set decoration. Kim's next film was with United Artists on a loan out in the controversial Otto Preminger film The Man with the Golden Arm (1955). Her performance was flawless, but it was was Kim's beauty that carried the day. The film was a big hit.
In 1957, Kim played "Linda English" in the hit movie Pal Joey (1957) with Frank Sinatra and Rita Hayworth. The film did very well at the box office, but was condemned by the critics. Kim really didn't seem that interested in the role. She even said she couldn't stand people such as her character.
That same year, Novak risked her career when she started dating singer/actor Sammy Davis Jr.. The interracial affair alarmed studio executives, most notably Harry Cohn, and they ended their relationship in January of the following year. In 1958, Kim appeared in Alfred Hitchcock's, now classic, Vertigo (1958) with James Stewart. This film's plot was one that thoroughly entertained the theater patrons wherever it played. The film was one in which Stewart's character, a detective, is hired to tail a friend's wife (Kim) and witnesses her suicide. In the end, Stewart finds that he has been duped in an elaborate scheme.
Her next film was Bell Book and Candle (1958) which was only a modest success. By the early 1960s, Kim's star was beginning to fade, especially with the rise of new stars or stars that were remodeling their status within the film community. With a few more nondescript films between 1960 and 1964, she landed the role of "Mildred Rogers" in the remake of Of Human Bondage (1964). The film debuted to good reviews.
In the meantime, Kim broke off her engagement to director Richard Quine and embarked on a brief dalliance with basketball player Wilt Chamberlain. While filming The Amorous Adventures of Moll Flanders (1965), she had a romance with co-star Richard Johnson, whom she married, but the marriage failed the following year.
Kim stepped away from the cameras for a while, returning in 1968 to star in The Legend of Lylah Clare (1968). It was a resounding flop, perhaps the worst of her career. However, after that, Kim, basically, was able to pick what projects she wanted. After The Great Bank Robbery (1969) in 1969, Kim was away for another four years until she was seen with then-boyfriend Michael Brandon in a television movie called The Third Girl from the Left (1973), playing a veteran Las Vegas showgirl experiencing a midlife crisis.
In a personal development, Novak met equine veterinarian Robert Malloy in October 1974 and the couple married in 1976. Subsequent films were not the type to get the critics to sit up and take notice, but afforded her the opportunity to work with strong talent. She appeared to good effect in Satan's Triangle (1975), Just a Gigolo (1978), The Mirror Crack'd (1980) and Malibu (1983).
In 1986 and 1987, Kim played, of all people, "Kit Marlowe" in the TV series Falcon Crest (1981). In 1990, she starred alongside Ben Kingsley in The Children (1990), a fine independent film shot in Europe. It was not widely distributed, thus few got to see Novak giving one of her most powerful performances.
Her last film, on the silver screen, was Liebestraum (1991), in which she played a terminally ill woman with a past. The film was a major disappointment in every aspect. Kim clashed with director Mike Figgis over how to play her character. Consequently, the role was cut to shreds. Kim has ruled out any plans for a comeback and says she just isn't cut out for Hollywood.
Fortunately, she has found long-lasting happiness outside her career. Today she lives in Eagle Point, Oregon with her husband Bob, on a ranch where they raise horses and llamas. Kim is also an accomplished artist and has exhibited her painting in galleries around the country. She enjoys riding, canoeing and expressing herself through paint, poetry and photography.1438 points- Actress
- Soundtrack
Judy Holliday was born Judith Tuvim in New York City on June 21, 1921. Her mother, a piano teacher, was attending a play when she went into labor and made it to the hospital just in time. Judy was an only child. By the age of four, her mother had her enrolled in ballet school which fostered a life-long interest in show business. Two years later her parents divorced. In high school, Judy began to develop an interest in theater. She appeared in several high school plays. After graduation, she got a job in the Orson Welles Mercury Theater as a switchboard operator. Judy worked her way on the stage with appearance in Boston, Philadelphia, Washington, D.C. and New York City. Judy toured on the nightclub circuit with a group called "The Revuers" founded by Betty Comden and Adolph Green. She went to Hollywood to make her first foray into the film world in Greenwich Village (1944). Most of her scenes ended up on the cutting room floor. Disappointed, but not discouraged, Judy earned two more roles that year in Something for the Boys (1944) and Winged Victory (1944). In the latter, Judy had a few lines of dialogue. Judy returned to New York to continue her stage career. She returned to Hollywood after five years to appear in Adam's Rib (1949) as Doris Attinger opposite screen greats Katharine Hepburn, Spencer Tracy and Tom Ewell. With her success in that role, Judy was signed to play Billie Dawn in Born Yesterday (1950), a role which she originated on Broadway. She was nominated for and won the best actress Oscar for her performance. After filming The Marrying Kind (1952), Judy was summoned before the Un-American Activities Committee to testify about her political affiliations. Fortunately for her, she was not blacklisted as were many of her counterparts, but damage was done. Her film career was curtailed somewhat, but rebounded. She continued with her stage and musical efforts, but with limited time on the screen. After filming The Solid Gold Cadillac (1956), she was off-screen for four years. Her last film was the MGM production of Bells Are Ringing (1960) with Dean Martin and it was one of her best. Judy died two weeks before her 44th birthday in New York City on June 7, 1965.1426 points- Actress
- Soundtrack
Thelma Ritter appeared in high school plays and was trained at the American Academy of Dramatic Arts. In the 1940s she worked in radio. Her movie career was started with a bit part in the 1946 Miracle on 34th Street (1947). In the movie she played a weary Xmas shopper. Her performance in the short scene was noticed by Darryl F. Zanuck who insisted her role be expanded. During the period 1951 to 1963 Ms. Ritter was nominated for 6 Academy Awards. She is one of the most nominated actors who never won the statue. Shortly after a 1968 performance on The Jerry Lewis Show (1967), Ms. Ritter suffered a heart attack which proved fatal.868 points- Actress
- Producer
- Soundtrack
Actress and producer Eva Marie Saint was born on July 4, 1924 on Newark, New Jersey. She is known for starring in Elia Kazan's On the Waterfront (1954), for which she won an Academy Award for Best Supporting Actress, and Alfred Hitchcock's North by Northwest (1959). Her film career also includes roles in Raintree County (1957), Exodus (1960), The Russians Are Coming the Russians Are Coming (1966), Grand Prix (1966), Nothing in Common (1986), Because of Winn-Dixie (2005), Superman Returns (2006) and Winter's Tale (2014).
Saint made her feature film debut in On the Waterfront (1954), starring Marlon Brando and directed by Elia Kazan - a performance for which she won the Academy Award for Best Supporting Actress. The film was a major success and launched her movie career. She starred in the pioneering drug-addiction drama A Hatful of Rain (1957) with Don Murray and Anthony Franciosa. She also starred in lavish the Civil War epic Raintree County (1957) with Elizabeth Taylor and Montgomery Clift.
Director Alfred Hitchcock surprised many by choosing Saint over dozens of other candidates for the femme fatale role in what was to become a suspense classic North by Northwest (1959) with Cary Grant and James Mason. Written by Ernest Lehman, the film updated and expanded upon the director's early "wrong man" spy adventures of the 1930s, 1940s and 1950s, including The 39 Steps (1935), Young and Innocent (1937), and Saboteur (1942). North by Northwest (1959) became a box-office success and an influence on spy films for decades.859 points- Actress
- Additional Crew
Born in San Giorgio di Piano, Giulietta Masina spent part of her teenage years living with a widowed aunt in Rome, where she cultivated a passion for the theater and studied for a degree in Philosophy. She began her career on the radio with the program "Terzoglio" (1942), about the adventures of newlyweds Cico and Pallina from scripts written by Federico Fellini. The series brought her great success. The following year she married Fellini and became the inspirational muse for many of his films.
She made her cinema debut in Without Pity (1948), directed by Alberto Lattuada, but really established her reputation with her next few films: Behind Closed Shutters (1951), directed by Luigi Comencini, Variety Lights (1950), which also marked Fellini's debut as director (the film credits both Fellini and Lattuada); and Europe '51 (1952), directed by Roberto Rossellini. Her artistic partnership with her husband really took off with the Oscar-winning The Road (1954), followed by The Swindle (1955) and the widely acclaimed Nights of Cabiria (1957), which again won an Oscar and brought her the award for Best Female Performance at the Cannes Film Festival. Over the following years she played many memorable roles in such films as Fortunella (1958), directed by Eduardo De Filippo; ...and the Wild Wild Women (1959), directed by Renato Castellani; and later in Juliet of the Spirits (1965) and Ginger & Fred (1986), both directed by Fellini.
From 1966 to 1969 she hosted the immensely popular radio show "Lettere aperte a Giulietta Masina" and starred in the television series Eleonora (1973), by Tullio Pinelli, directed by Silverio Blasi, and Camilla (1976), directed by Sandro Bolchi, based on the novel by Fausta Cialente, "Un inverno freddissimo" (1966).
She died in Rome in 1994, just a few months after the death of her husband.856 points- Actress
- Soundtrack
One of the brightest, most tragic movie stars of Hollywood's Golden Era, Judy Garland was a much-loved character whose warmth and spirit, along with her rich and exuberant voice, kept theatre-goers entertained with an array of delightful musicals.
She was born Frances Ethel Gumm on 10 June 1922 in Minnesota, the youngest daughter of vaudevillians Ethel Marian (Milne) and Francis Avent "Frank" Gumm. She was of English, along with some Scottish and Irish, descent. Her mother, an ambitious woman gifted in playing various musical instruments, saw the potential in her daughter at the tender age of just 2 years old when Baby Frances repeatedly sang "Jingle Bells" until she was dragged from the stage kicking and screaming during one of their Christmas shows and immediately drafted her into a dance act, entitled "The Gumm Sisters," along with her older sisters Mary Jane Gumm and Virginia Gumm. However, knowing that her youngest daughter would eventually become the biggest star, Ethel soon took Frances out of the act and together they traveled across America where she would perform in nightclubs, cabarets, hotels and theaters solo.
Her family life was not a happy one, largely because of her mother's drive for her to succeed as a performer and also her father's closeted homosexuality. The Gumm family would regularly be forced to leave town owing to her father's illicit affairs with other men, and from time to time they would be reduced to living out of their automobile. However, in September 1935 the Gumms', in particular Ethel's, prayers were answered when Frances was signed by Louis B. Mayer, mogul of leading film studio MGM, after hearing her sing. It was then that her name was changed from Frances Gumm to Judy Garland, after a popular '30s song "Judy" and film critic Robert Garland.
Tragedy soon followed, however, in the form of her father's death of meningitis in November 1935. Having been given no assignments with the exception of singing on radio, Judy faced the threat of losing her job following the arrival of Deanna Durbin. Knowing that they couldn't keep both of the teenage singers, MGM devised a short entitled Every Sunday (1936) which would be the girls' screen test. However, despite being the outright winner and being kept on by MGM, Judy's career did not officially kick off until she sang one of her most famous songs, "You Made Me Love You," at Clark Gable's birthday party in February 1937, during which Louis B. Mayer finally paid attention to the talented songstress.
Prior to this her film debut in Pigskin Parade (1936), in which she played a teenage hillbilly, had left her career hanging in the balance. However, following her rendition of "You Made Me Love You," MGM set to work preparing various musicals with which to keep Judy busy. All this had its toll on the young teenager, and she was given numerous pills by the studio doctors in order to combat her tiredness on set. Another problem was her weight fluctuation, but she was soon given amphetamines in order to give her the desired streamlined figure. This soon produced the downward spiral that resulted in her lifelong drug addiction.
In 1939, Judy shot immediately to stardom with The Wizard of Oz (1939), in which she portrayed Dorothy, an orphaned girl living on a farm in the dry plains of Kansas who gets whisked off into the magical world of Oz on the other end of the rainbow. Her poignant performance and sweet delivery of her signature song, 'Over The Rainbow,' earned Judy a special juvenile Oscar statuette on 29 February 1940 for Best Performance by a Juvenile Actor. Now growing up, Judy began to yearn for meatier adult roles instead of the virginal characters she had been playing since she was 14. She was now taking an interest in men, and after starring in her final juvenile performance in Ziegfeld Girl (1941) alongside glamorous beauties Lana Turner and Hedy Lamarr, Judy got engaged to bandleader David Rose in May 1941, just two months after his divorce from Martha Raye. Despite planning a big wedding, the couple eloped to Las Vegas and married during the early hours of the morning on July 28, 1941 with just her mother Ethel and her stepfather Will Gilmore present. However, their marriage went downhill as, after discovering that she was pregnant in November 1942, David and MGM persuaded her to abort the baby in order to keep her good-girl image up. She did so and, as a result, was haunted for the rest of her life by her 'inhumane actions.' The couple separated in January 1943.
By this time, Judy had starred in her first adult role as a vaudevillian during WWI in For Me and My Gal (1942). Within weeks of separation, Judy was soon having an affair with actor Tyrone Power, who was married to French actress Annabella. Their affair ended in May 1943, which was when her affair with producer Joseph L. Mankiewicz kicked off. He introduced her to psychoanalysis and she soon began to make decisions about her career on her own instead of being influenced by her domineering mother and MGM. Their affair ended in November 1943, and soon afterward Judy reluctantly began filming Meet Me in St. Louis (1944), which proved to be a big success. The director Vincente Minnelli highlighted Judy's beauty for the first time on screen, having made the period musical in color, her first color film since The Wizard of Oz (1939). He showed off her large brandy-brown eyes and her full, thick lips and after filming ended in April 1944, a love affair resulted between director and actress and they were soon living together.
Vincente began to mold Judy and her career, making her more beautiful and more popular with audiences worldwide. He directed her in The Clock (1945), and it was during the filming of this movie that the couple announced their engagement on set on January 9, 1945. Judy's divorce from David Rose had been finalized on June 8, 1944 after almost three years of marriage, and despite her brief fling with Orson Welles, who at the time was married to screen sex goddess Rita Hayworth, on June 15, 1945 Judy made Vincente her second husband, tying the knot with him that afternoon at her mother's home with her boss Louis B. Mayer giving her away and her best friend Betty Asher serving as bridesmaid. They spent three months on honeymoon in New York and afterwards Judy discovered that she was pregnant.
On March 12, 1946 in Los Angeles, California, Judy gave birth to their daughter, Liza Minnelli, via cesarean section. It was a joyous time for the couple, but Judy was out of commission for weeks due to the cesarean and her postnatal depression, so she spent much of her time recuperating in bed. She soon returned to work, but married life was never the same for Vincente and Judy after they filmed The Pirate (1948) together in 1947. Judy's mental health was fast deteriorating and she began hallucinating things and making false accusations toward people, especially her husband, making the filming a nightmare. She also began an affair with aspiring Russian actor Yul Brynner, but after the affair ended, Judy soon regained health and tried to salvage her failing marriage. She then teamed up with dancing legend Fred Astaire for the delightful musical Easter Parade (1948), which resulted in a successful comeback despite having Vincente fired from directing the musical. Afterwards, Judy's health deteriorated and she began the first of several suicide attempts. In May 1949, she was checked into a rehabilitation center, which caused her much distress.
She soon regained strength and was visited frequently by her lover Frank Sinatra, but never saw much of Vincente or Liza. On returning, Judy made In the Good Old Summertime (1949), which was also Liza's film debut, albeit via an uncredited cameo. She had already been suspended by MGM for her lack of cooperation on the set of The Barkleys of Broadway (1949), which also resulted in her getting replaced by Ginger Rogers. After being replaced by Betty Hutton on Annie Get Your Gun (1950), Judy was suspended yet again before making her final film for MGM, entitled Summer Stock (1950). At 28, Judy received her third suspension and was fired by MGM, and her second marriage was soon dissolved.
Having taken up with Sidney Luft, Judy traveled to London to star at the legendary Palladium. She was an instant success and after her divorce from Vincente Minnelli was finalized on March 29, 1951 after almost six years of marriage, Judy traveled with Sid to New York to make an appearance on Broadway. With her newfound fame on stage, Judy was stopped in her tracks in February 1952 when she became pregnant by her new lover, Sid. At the age of 30, she made him her third husband on June 8, 1952; the wedding was held at a friend's ranch in Pasadena. Her relationship with her mother had long since been dissolved by this point, and after the birth of her second daughter, Lorna Luft, on November 21, 1952, she refused to allow her mother to see her granddaughter. Ethel then died in January 1953 of a heart attack, leaving Judy devastated and feeling guilty about not reconciling with her mother before her untimely demise.
After the funeral, Judy signed a film contract with Warner Bros. to star in the musical remake of A Star Is Born (1937), which had starred Janet Gaynor, who had won the first-ever Academy Award for Best Actress in 1929. Filming soon began, resulting in an affair between Judy and her leading man, British star James Mason. She also picked up on her affair with Frank Sinatra, and after filming was complete Judy was yet again lauded as a great film star. She won a Golden Globe for her brilliant and truly outstanding performance as Esther Blodgett, nightclub singer turned movie star, but when it came to the Academy Awards, a distraught Judy lost out on the Best Actress Oscar to Grace Kelly for her portrayal of the wife of an alcoholic star in The Country Girl (1954). Many still argue that Judy should have won the Oscar over Grace Kelly. Continuing her work on stage, Judy gave birth to her beloved son, Joey Luft, on March 29, 1955. She soon began to lose her millions of dollars as a result of her husband's strong gambling addiction, and with hundreds of debts to pay, Judy and Sid began a volatile, on-off relationship resulting in numerous divorce filings.
In 1961, at the age of 39, Judy returned to her ailing film career, this time to star in Judgment at Nuremberg (1961), for which she received an Oscar nomination for Best Supporting Actress, but this time she lost out to Rita Moreno for her performance in West Side Story (1961). Her battles with alcoholism and drugs led to Judy's making numerous headlines in newspapers, but she soldiered on, forming a close friendship with President John F. Kennedy. In 1963, Judy and Sid finally separated permanently, and on May 19, 1965 their divorce was finalized after almost 13 years of marriage. By this time, Judy, now 41, had made her final performance on film alongside Dirk Bogarde in I Could Go on Singing (1963). She married her fourth husband, Mark Herron, on November 14, 1965 in Las Vegas, but they separated in April 1966 after five months of marriage owing to his homosexuality. It was also that year that she began an affair with young journalist Tom Green. She then settled down in London after their affair ended, and she began dating disk jockey Mickey Deans in December 1968. They became engaged once her divorce from Mark Herron was finalized on January 9, 1969 after three years of marriage. She married Mickey, her fifth and final husband, in a register office in Chelsea, London, England on March 15, 1969.
She continued working on stage, appearing several times with her daughter Liza. It was during a concert in Chelsea, London, England that Judy stumbled into her bathroom late one night and died of an overdose of barbiturates, the drug that had dominated her much of her life, on June 22, 1969 at the age of 47. Her daughter Liza Minnelli paid for her funeral, and her former lover James Mason delivered her touching eulogy. She is still an icon to this day with her famous performances in The Wizard of Oz (1939), Meet Me in St. Louis (1944), Easter Parade (1948), and A Star Is Born (1954).833 points- Actress
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Audrey Hepburn was born as Audrey Kathleen Ruston on May 4, 1929 in Ixelles, Brussels, Belgium. Her mother, Baroness Ella Van Heemstra, was a Dutch noblewoman, while her father, Joseph Victor Anthony Ruston, was born in Úzice, Bohemia, to English and Austrian parents.
After her parents' divorce, Audrey went to London with her mother where she went to a private girls school. Later, when her mother moved back to the Netherlands, she attended private schools as well. While she vacationed with her mother in Arnhem, Netherlands, Hitler's army took over the town. It was here that she fell on hard times during the Nazi occupation. Audrey suffered from depression and malnutrition.
After the liberation, she went to a ballet school in London on a scholarship and later began a modeling career. As a model, she was graceful and, it seemed, she had found her niche in life--until the film producers came calling. In 1948, after being spotted modeling by a producer, she was signed to a bit part in the European film Nederlands in zeven lessen (1948). Later, she had a speaking role in the 1951 film, Young Wives' Tale (1951) as Eve Lester. The part still wasn't much, so she headed to America to try her luck there. Audrey gained immediate prominence in the US with her role in Roman Holiday (1953). This film turned out to be a smashing success, and she won an Oscar as Best Actress.
On September 25, 1954, she married actor Mel Ferrer. She also starred in Sabrina (1954), for which she received another Academy Award nomination. She starred in the films Funny Face (1957) and Love in the Afternoon (1957). She received yet another Academy Award nomination for her role in The Nun's Story (1959). On July 17, 1960, she gave birth to her first son, Sean Hepburn Ferrer.
Audrey reached the pinnacle of her career when she played Holly Golightly in Breakfast at Tiffany's (1961), for which she received another Oscar nomination. She scored commercial success again playing Regina Lampert in the espionage caper Charade (1963). One of Audrey's most radiant roles was in the fine production of My Fair Lady (1964). After a couple of other movies, most notably Two for the Road (1967), she hit pay dirt and another nomination in Wait Until Dark (1967).
In 1967, Audrey decided to retire from acting while she was on top. She divorced from Mel Ferrer in 1968. On January 19, 1969, she married Dr. Andrea Dotti. On February 8, 1970, she gave birth to her second son, Luca Dotti in Lausanne, Vaud, Switzerland. From time to time, she would appear on the silver screen.
In 1988, she became a special ambassador to the United Nations UNICEF fund helping children in Latin America and Africa, a position she retained until 1993. She was named to People's magazine as one of the 50 most beautiful people in the world. Her last film was Always (1989).
Audrey Hepburn died, aged 63, on January 20, 1993 in Tolochnaz, Vaud, Switzerland, from appendicular cancer. She had made a total of 31 high quality movies. Her elegance and style will always be remembered in film history as evidenced by her being named in Empire magazine's "The Top 100 Movie Stars of All Time".830 points- Actress
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Born in Namegata, Ibaraki Prefecture in 1931, Kagawa Kyoko (also Makino Kyoko) has endured through the golden age of Japanese cinema, into the end of the century and onto the new to act in many of the more important films from her native country. Growing up she had aspired to learn English and then to become a ballerina after watching Swan Lake, but fate and a beauty contest sponsored by The Tokyo Shimbun newspaper intervened and cast her into the role of an actress. She began her career at the defunct Shintoho Studio in 1949. Films like Tokyo Story, Sansho The Bailiff and High And Low directed respectively by Ozu, Yasujiro, Mizoguchi, Kenji and Kurosawa, Akira have captured and immortalized her. She married and moved to New York City, USA with her husband, a reporter, and child for three years in 1965. She went through a couple of dry spells mid-career when roles had vanished, one of which lasted three years and was broken when a call came from Kurosawa to work on Maadadayo. It was the first time the actress and director worked together in 28 years. Kagawa won a Japanese Academy Award for Best Supporting Actress for the film. She was awarded a Japanese Medal With Purple Ribbon in 1998 for her contribution to Japanese life and arts. She was the subject of a film perspective at the Tokyo International Film Festival and Japan's National Film Centre in 2011. She also received an award in the same year from The International Federation Of Film Archives for her movie preservation effort. She was the first Japanese actor to receive this prize. She has done commercial work in the '70s and '80s (House Foods) and more recently for Lawson stores and Kirin Brewery. Overall she has a dozen awards, a couple of books and even a music single to her credit.807 points- Actress
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Joan Crawford was born Lucille Fay LeSueur on March 23, 1906, in San Antonio, Texas, to Anna Belle (Johnson) and Thomas E. LeSueur, a laundry laborer. By the time she was born, her parents had separated, and by the time she was a teenager, she'd had three stepfathers. It wasn't an easy life; Crawford worked a variety of menial jobs. She was a good dancer, though, and -- perhaps seeing dance as her ticket to a career in show business -- she entered several contests, one of which landed her a spot in a chorus line. Before long, she was dancing in big Midwestern and East Coast cities. After almost two years, she packed her bags and moved to Hollywood. Crawford was determined to succeed, and shortly after arriving she got her first bit part, as a showgirl in Pretty Ladies (1925).
Three films quickly followed; although the roles weren't much to speak of, she continued toiling. Throughout 1927 and early 1928, she was cast in small parts, but that ended with the role of Diana Medford in Our Dancing Daughters (1928), which elevated her to star status. Crawford had cleared the first big hurdle; now came the second, in the form of talkies. Many stars of the silents saw their careers evaporate, either because their voices weren't particularly pleasant or because their voices, pleasing enough, didn't match the public's expectations (for example, some fans felt that John Gilbert's tenor didn't quite match his very masculine persona). But Crawford wasn't felled by sound. Her first talkie, Untamed (1929), was a success. As the 1930s progressed, Crawford became one of the biggest stars at MGM. She was in top form in films such as Grand Hotel (1932), Sadie McKee (1934), No More Ladies (1935), and Love on the Run (1936); movie patrons were enthralled, and studio executives were satisfied.
By the early 1940s, MGM was no longer giving her plum roles; newcomers had arrived in Hollywood, and the public wanted to see them. Crawford left MGM for rival Warner Bros., and in 1945 she landed the role of a lifetime. Mildred Pierce (1945) gave her an opportunity to show her range as an actress, and her performance as a woman driven to give her daughter everything garnered Crawford her first, and only, Oscar for Best Actress. The following year she appeared with John Garfield in the well-received Humoresque (1946). In 1947, she appeared as Louise Graham in Possessed (1947); again she was nominated for a Best Actress from the Academy, but she lost to Loretta Young in The Farmer's Daughter (1947). Crawford continued to choose her roles carefully, and in 1952 she was nominated for a third time, for her depiction of Myra Hudson in Sudden Fear (1952). This time the coveted Oscar went to Shirley Booth, for Come Back, Little Sheba (1952). Crawford's career slowed after that; she appeared in minor roles until 1962, when she and Bette Davis co-starred in What Ever Happened to Baby Jane? (1962). Their longstanding rivalry may have helped fuel their phenomenally vitriolic and well-received performances. (Earlier in their careers, Davis said of Crawford, "She's slept with every male star at MGM except Lassie", and Crawford said of Davis, "I don't hate [her] even though the press wants me to. I resent her. I don't see how she built a career out of a set of mannerisms instead of real acting ability. Take away the pop eyes, the cigarette, and those funny clipped words, and what have you got? She's phony, but I guess the public really likes that.")
Crawford's final appearance on the silver screen was in the flop Trog (1970). Turning to vodka more and more, she was hardly seen afterward. On May 10, 1977, Joan died of a heart attack in New York City. She was 71 years old. She had disinherited her adopted daughter Christina and son Christopher; the former wrote a tell-all book called "Mommie Dearest", The Sixth Sense published in 1978. The book cast Crawford in a negative light and was cause for much debate, particularly among her friends and acquaintances, including Douglas Fairbanks Jr., Crawford's first husband. (In 1981, Faye Dunaway starred in Mommie Dearest (1981) which did well at the box office.) Crawford is interred in the same mausoleum as fellow MGM star Judy Garland, in Ferncliff Cemetery in Hartsdale, New York.769 points- Actress
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Mercedes McCambridge was a highly talented radio performer who won a best supporting Actress Oscar for her film debut.
Mercedes McCambridge was born in Joliet, Illinois, to Marie (Mahaffry) and John Patrick McCambridge, a farmer. She was of mostly Irish (with a small amount of English and German) ancestry. Despite a career full of supporting roles, she later became something of a cult figure. Her memorable voice-over for the demon child in The Exorcist (1973) has secured her place in movie history. Ironically, she took Warner Bros. to court over her being uncredited for the role, which was probably the most important in the film.
Mercedes enjoyed a quiet retirement starting from the early 1980s. She was a special guest star at the 70th Annual Anniversary Academy Awards in 1998 along with many other Oscar winners. Mercedes also made special television appearances to discuss her role in The Exorcist (1973) at the 30th Anniversary of the film's release.
She died in La Jolla in California on 2nd March 2004 from natural causes.769 points- Actress
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Lianella Carell was born on 6 May 1927 in Rome, Lazio, Italy. She was an actress and writer, known for Bicycle Thieves (1948), Carnal Circuit (1969) and Amore e guai (1958). She died on 19 December 2000 in Rome, Lazio, Italy.763 points- Actress
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Enigmatic, dark-haired foreign import Alida Valli was dubbed "The Next Garbo" but didn't live up to postwar expectations despite her cool, patrician beauty, remote allure and significant talent. Born in Pola, Italy (now Croatia), on May 3, 1921, the daughter of a Tridentine journalist and professor and an Istrian homemaker, she studied dramatics as a teen at the Motion Picture Academy of Rome and Centro Sperimentale di Cinematografia before snaring bit roles in such films as Il cappello a tre punte (1935) ["The Three-Cornered Hat"] and I due sergenti (1936) ["The Two Sergeants"]. She made a name for herself in Italy during WWII playing the title role in Manon Lescaut (1940), won a Venice Film Festival award for Piccolo mondo antico (1941) ["Little Old World"] and was a critical sensation in We the Living (1942) ["We the Living"]. She briefly abandoned her career, however, in 1943, refusing to appear in what she considered fascist propaganda, and was forced into hiding. The next year she married surrealist painter/pianist/composer Oscar De Mejo. They had two children, and one of them, Carlo De Mejo, became an actor. She divorced in 1955, then she came back to Italy,
Following her potent, award-winning work in the title role of Eugenie Grandet (1946), she was discovered and contracted by David O. Selznick to play the murder suspect Maddalena Paradine in Alfred Hitchcock's The Paradine Case (1947). She was billed during her Hollywood years simply as "Valli," and Selznick also gave her top femme female billing in Carol Reed's classic film noir The Third Man (1949), but for every successful film--such as the ones previously mentioned--she experienced such failures as The Miracle of the Bells (1948), and audiences stayed away. In 1951 she bid farewell to Hollywood and returned to her beloved Italy. In Europe again, she was sought after by the best directors. Her countess in Luchino Visconti's Senso (1954) was widely heralded, and she moved easily from ingénue to vivid character roles. Later standout films encompassed costume dramas as well as shockers and had her playing everything from baronesses to grandmothers in such films as Eyes Without a Face (1960) ["Eyes Without a Face"], Le gigolo (1960), Oedipus Rex (1967) ["Oedipus Rex"], The Big Scare (1974), 1900 (1976), Suspiria (1977), Luna (1979), Inferno (1980), Aspern (1982), A Month by the Lake (1995) and, her most recent, Angel of Death (2001).749 points- Actress
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American leading lady whose sweet smile and sunny disposition made her the prototypical girl-next-door of American movies of the 1940s. Raised in semi-poverty in Bronx neighborhoods by her divorced mother, Allyson (nee Ella Geisman) was injured in a fall at age eight and spent four years confined within a steel brace. Swimming therapy slowly gave her mobility again, and she began to study dance as well. She entered dance contests after high school and earned roles in several musical short films. In 1938, she made her Broadway debut in the musical "Sing Out the News." After several roles in the chorus of various musicals, she was hired to understudy Betty Hutton in "Panama Hattie." Hutton's measles gave Allyson a shot at a performance and she impressed director George Abbott so much that he gave her a role in his next musical, "Best Foot Forward." She was subsequently hired by MGM to recreate her role in the screen version. The studio realized what it had in her and offered her a contract.
Her smoky voice and winning personality made her very popular and she made more than a score of films for MGM, most often in musicals and comedies. She became a box-office attraction, paired with many of the major stars of the day. In 1945, she married actor-director Dick Powell, with whom she occasionally co-starred. Following Powell's death from cancer in 1963, she retreated somewhat from film work, appearing only infrequently on screen and slightly more often in television films. Occasional nightclub appearances and commercials were her only other public performances since, and she died of pulmonary respiratory failure and acute bronchitis on July 8, 2006, after a long illness.745 points- Actress
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Shelley Winters was born Shirley Schrift of very humble beginnings on August 18, 1920 (some sources list 1922) in East St. Louis, Illinois. Her mother, Rose Winter, was born in Missouri, to Austrian Jewish parents, and her father, Jonas Schrift, was an Austrian Jewish immigrant. She had one sibling, a sister, Blanche. Her father moved the family to Brooklyn when she was still young so that he, a tailor's cutter, could find steadier work closer to the city's garment industry. An unfailing interest in acting began quite early for Shelley, and she appeared in high school plays. By her mid- to late teens she had already been employed as a Woolworth's store clerk, model, borscht belt vaudevillian and nightclub chorine, all in order to pay for her acting classes. During a nationwide search in 1939 for GWTW's Scarlett O'Hara, Shelley was advised by auditioning director George Cukor to get acting lessons, which she did. Apprenticing in summer stock, she made her Broadway debut in the short-lived comedy "The Night Before Christmas" in 1941 and followed it with the operetta "Rosalinda" (1942) initially billing herself in both shows as Shelley Winter (without the "s").
Within a short time, Shelley pushed ahead for a career out west. Hollywood proved to be a tough road. Toiling in bit roles for years, many of her scenes were excised altogether during her early days. Obscurely used in such movies as What a Woman! (1943), The Racket Man (1944), Cover Girl (1944) and Tonight and Every Night (1945), her breakthrough did not occur until 1947, and it happened on both the stage and big screen. Not only did she win the replacement role of Ado Annie Carnes in "Oklahoma!" on Broadway but, around the same time, scored excellent notices on film as the party girl waitress who ends up a victim of deranged strangler (and Oscar winner) Ronald Colman in the critically-hailed A Double Life (1947) directed by Cukor. From this moment, she achieved a somewhat earthy film stardom, playing second-lead broads who often met untimely ends (as in Cry of the City (1948) and The Great Gatsby (1949)), or tawdry-black-stockinged and feather-boa-adorned leads, as in South Sea Sinner (1950) in which her eclectic co-stars included Macdonald Carey and Liberace!
As a tarnished glamour girl and symbol of working-class vulgarity in Hollywood, Shelley was about to be written off in pictures altogether when one of her finest movie roles arrived on her front porch. Her best hard luck girl storyboard showed up in the form of depressed, frumpy-looking Alice Tripp, a factory girl seduced and abandoned by wanderlust Montgomery Clift in A Place in the Sun (1951). Favoring gorgeous society girl Elizabeth Taylor who is totally out of his league, Clift is subsequently blackmailed by Winters' pathetic (and now pregnant) character into marrying her. For her desperate efforts, she is purposely drowned by Clift after he tips their canoe. The role, which garnered Shelley her first Oscar nomination, finally plucked her out of the sordid starlet pool she was treading and into the ranks of serious femme star contenders. But not for long.
Winters just couldn't escape the lurid bottle-blonde quality she instilled in her characters. During what should have been her peak time in films were a host of badly-scripted "B" films. The obvious, two-dimensional chorines, barflies, floozies and gold diggers she played in Behave Yourself! (1951), Frenchie (1950), Phone Call from a Stranger (1952), Playgirl (1954), and also Mambo (1954), in which co-starred second husband Vittorio Gassman, pretty much said it all. She grew extremely disenchanted and decided to return to dramatic study. Earning membership into the famed Actors' Studio, she went to Broadway and earned kudos, thereby reestablishing her reputation as a strong actress with the drug-themed play "A Hatful of Rain" (1955). Co-starring in the show was the up-and-coming Anthony Franciosa, who became her third husband in 1957. Her renewed dedication to pursuing quality work was shown by her appearances in a number of heavyweight theater roles including Blanche in "A Streetcar Named Desire" (1955). In later years, the Actors' Studio enthusiast became one of its most respected coaches, shaping up a number of today's fine talents with the Strasberg "method" technique.
By the late 1950s, she had started growing in girth and wisely eased into colorful character supports. The switch paid off. After a sterling performance as the ill-fated wife of sadistic killer Robert Mitchum in Charles Laughton's The Night of the Hunter (1955), she scored big in the Oscar department when she won "Best Supporting Actress" for the shrill and hypertensive but doomed Mrs. Van Daan in The Diary of Anne Frank (1959). From this period sprouted a host of revoltingly bad mamas, blowsy matrons, and trashy madams in such film fare as Lolita (1962), The Chapman Report (1962), The Balcony (1963) Wives and Lovers (1963), and A House Is Not a Home (1964). She topped things off as the abusive prostitute mom in A Patch of Blue (1965) who was not above pimping her own blind daughter (the late Elizabeth Hartman) for household money. The actress managed to place a second Oscar on her mantle for this riveting support work.
With advancing age and increasing size, she found a comfortable niche in the harping Jewish wife/mother category with loud, flashy, unsubtle roles in Enter Laughing (1967), Next Stop, Greenwich Village (1976) and, most notably, The Poseidon Adventure (1972). She earned another Oscar nomination for "Poseidon" while portraying her third drowning victim. At around the same time, she scored quite well as the indomitable Marx Brothers' mama in "Minnie's Boys" on Broadway in 1970.
In the 1970s and 1980s, she developed into an oddly-distracted personality on TV, making countless talk show appearances and becoming quite the raconteur and incessant name dropper with her juicy Hollywood behind-the-scenes tales. Candid would be an understatement when she published two scintillating tell-all autobiographies that reached the bestsellers list. "Shelley, Also Known as Shirley" (1981) and "Shelley II: The Middle of My Century" (1989) detailed dalliances with Errol Flynn, Burt Lancaster, Marlon Brando, William Holden, Sean Connery and Clark Gable, to name just a few.
Thrice divorced (her first husband was a WWII captain; her only child, Vittoria, was the daughter of her second husband, Gassman), she remained footloose and fancy free after finally breaking it off with the volatile Franciosa in 1960. Her stormy marriages and notorious affairs, not to mention her ambitious forays into politics and feminist causes, kept her name alive for decades. She worked in films until the beginning of the millennium, her last film being the easily-dismissed Italian feature La bomba (1999). She enjoyed Emmy-winning TV work and had the recurring role of Roseanne Barr's tell-it-like-it-is grandmother on the comedienne's self-named sitcom. Her last years were marred by failing health and, for the most part, she was confined to a wheelchair. Suffering a heart attack in October of 2005, she died in a Beverly Hills nursing home of heart failure on January 14, 2006.
It was reported that only hours earlier on her deathbed she had entered into a "spiritual" union with her longtime companion of 19 years, Gerry McFord; a relationship of which her daughter disapproved. Gregarious, brazen, ambitious and completely unpredictable -- that would be Shelley Winters, the storyteller, whose amazing career lasted over six colorful decades.745 points- Actress
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A leading lady of the 1940s, the tall and blonde Foch usually played cool, aloof and often foreign, women of sophistication. As film roles became harder to find, Foch proved to be versatile in many areas. She was a panelist on several TV quiz shows, worked as George Stevens' assistant director for The Diary of Anne Frank (1959) and directed plays. Since the 1960s, she has been an acting teacher for USC and the American Film Institute.745 points- Actress
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Maria Schell studied in a religious institution in Colmar (Haut-Rhin, France). She received a dramatic training in Zurich, Switzerland. To pay her studies, she was a secretary there. Besides being a film star; Maria appeared in plays in Zurich, Basel, in Vienna (Josefstad Theater), Berlin, Munich (Kammerspiel Theater), at the Salzburg Festival and went on provincial tours from 1963. Among the plays she performed there were such classics as William Shakespeare's "Hamlet", Johann Wolfgang von Goethe's "Faust" and such modern classics as "Pygmalion" by George Bernard Shaw.739 points- Barbara Rütting was born Waltraut Irmgard Goltz in Wietstock (Brandenburg), the daughter of teachers. She grew up and went to school in Berlin and Luckenwalde in Brandenburg. After matriculating, she moved to Denmark where she sought employment and worked variously as a maid, as a librarian and as a translator. Following the end of World War II, Barbara returned to Berlin to study drama (abandoning her dream of becoming a medical doctor). In 1952, she made her screen debut in Postlagernd: 'Turteltaube' (1952) (promoted at the time as 'a comedy against fear') followed four years later by appearances on the German and Austrian stage. During this phase of her career, she came to specialise in women wrestling with difficult sociopolitical situations or affairs of the heart. Her roles ranged from naive heroines in Heimat films to self-assured ladies in more demanding fare. The latter included Helmut Käutner's The Last Bridge (1954). Her role as a Serbian student and member of a group of wartime partisans won her critical plaudits and the film itself was described as 'international masterclass' by a reviewer of the Welt publication.
Barbara subsequently starred as the eponymous heroine in the second remake of the perennial Heimat-film classic Die Geierwally (1956) (though not surpassing the definitive 1940 performance by Heidemarie Hatheyer). She co-starred as an aggressive reporter investigating a case of gang rape by a quartet of G.I.'s in Town Without Pity (1961), an American, Swiss, and West German international co-production, headlining Kirk Douglas and E.G. Marshall as opposing councils. Her later filmography encompassed diverse characters in films of widely varying genres and quality: Deadly Decision (1954) (as double agent Irene von Harbeck), Operation Crossbow (1965) (a supporting role, as German aviatrix Hanna Reitsch), River of Evil (1963) (a leading role, as a girl trying to solve the mystery of her father's death in the Amazon jungle), Der Zinker (1963), Das Phantom von Soho (1964) and Again the Ringer (1965) (a trio of Edgar Wallace-based crime thrillers with Rütting as the nominal female lead), plus heroines from the classics and historical figures including Lysistrata, Turandot and Madame Caillaux. On the stage she echoed the latter with roles in plays by Schiller, Ibsen and Strindberg.
Rütting retired from acting in 1984 and devoted her life to philanthropic environmental and animal-related causes (she was a vocal opponent of animal testing by pharmaceutical companies). Beginning in 1970, she pursued a secondary career as an author of novels, books for children and cookbooks and by the following decade made regular contributions to the weekly Swiss magazine Die Weltwoche. She was married and divorced twice, taking the surname of her first husband. Her second spouse was the German journalist, socialist politician and ex-wartime fighter ace Heinrich von Einsiedel.739 points - Actress
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Gloria Grahame Hallward, an acting pupil of her mother (stage actress and teacher Jean Grahame), acted professionally while still in high school. In 1944 Louis B. Mayer saw her on Broadway and gave her an MGM contract under the name Gloria Grahame. Her debut in the title role of Blonde Fever (1944) was auspicious, but her first public recognition came on loan-out in It's a Wonderful Life (1946). Although her talent and sex appeal were of star quality, she did not fit the star pattern at MGM, who sold her contract to RKO in 1947. Here the same problem resurfaced; her best film in these years was made on loan-out, In a Lonely Place (1950). Soon after, she left RKO. The 1950s, her best period, brought her a Best Supporting Actress Oscar and typecast her as shady, inimitably sultry ladies in seven well-known film-noir classics.
Rumors of being difficult to work with on the set of Oklahoma! (1955) helped sideline her film career from 1956 onward. She also suffered from marital and child-custody troubles. Eight years after divorce from Nicholas Ray, who was 12 years her senior (and reportedly had discovered her in bed with his 13 year old son), and after a subsequent marriage to Cy Howard ended in divorce, in 1960 she married her former stepson Anthony Ray (who was almost 14 years younger than she was.) This led former husbands Nicholas Ray and Cy Howard to sue Grahame; each man seeking custody of his respective child, putting gossip columnists and scandal sheets into overdrive. Grahame herself underwent electroconvulsive therapy after the ensuing stress caused a nervous breakdown. Surprisingly, however, Grahame and Anthony "Tony" Ray proved a happy couple. The union would be Grahame's longest marriage, lasting almost 14 years (10 years longer than her previous union with Ray's father); the couple had two children, Anthony Jr. and James.
In 1960, Grahame resumed stage acting, combined with TV work and, from 1970, some mostly inferior films. She was described as a serious, skillful actress; spontaneous, honest, and strong-willed; imaginative and curious; incredibly sexy but insecure about her looks (prompting plastic surgery on her famous lips); loving appreciative male company; "a bit loony". In 1975, she was treated for breast cancer. Five years later, she was diagnosed with cancer again, although it is unclear if this was a new cancer or a metastasis of her breast cancer. Grahame eventually moved to England in 1978. Her busiest period of British and American stage work ended abruptly in 1981 when she collapsed from cancer symptoms during a rehearsal. She wished to remain in Liverpool with her partner, Peter Turner (almost 30 years her junior), but after Turner notified her children of her health condition and impending death, two of her children flew to England to retrieve her, insisting she return to the United States. She died a few hours later that same day of stomach cancer and peritonitis at St. Vincent's Hospital in Manhattan on October 5, 1981 at age 57.738 points- She studied theatre at Marika Kotopouli's drama school. She worked with Karolos Koun Art Theatre. She played at "Blood Wedding" (Federico García Lorca) and "The glass Menagerie" (Tennessee Williams) in the late forties. She also worked with Mrs Katerina (famous Greek actress at that time) and with Kostas Mousouris's group in the early fifties. In the mid fifties she created a group with two Greek actors, Dimitris Horn and Giorgos Pappas. In the sixties she gave unforgettable performances with her own group. One of these performances was "A streetcar named desire" where she played Blanche du Bois. In 1967 she suffered the onset of cancer. Although she was seriously ill, she continued to appear on stage until 1982 (one year before her death). Her last appearance was as Sarah in a play which is widely known from the movie Children of a Lesser God (1986). At that time she no voice at all, the cancer having deprived her of it.738 points
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Sophia Loren was born as Sofia Scicolone at the Clinica Regina Margherita in Rome on September 20, 1934. Her father Riccardo was married to another woman and refused to marry her mother Romilda Villani, despite the fact that she was the mother of his two children (Sophia and her younger sister Maria Scicolone). Growing up in the slums of Pozzuoli during the second World War without any support from her father, she experienced great sadness in her childhood. Her life took an unexpected turn for the best when, at age 14, she entered into a beauty contest and placed as one of the finalists. It was here that Sophia caught the attention of film producer Carlo Ponti, some 22 years her senior, whom she later married. Perhaps he was the father figure she never experienced as a child. Under his guidance, Sophia was put under contract and appeared as an extra in ten films beginning with Le sei mogli di Barbablù (1950), before working her way up to supporting roles. In these early films, she was credited as "Sofia Lazzaro" because people joked her beauty could raise Lazzarus from the dead.
By her late teens, Sophia was playing lead roles in many Italian features such as La favorita (1952) and Aida (1953). In 1957, she embarked on a successful acting career in the United States, starring in Boy on a Dolphin (1957), Legend of the Lost (1957), and The Pride and the Passion (1957) that year. She had a short-lived but much-publicized fling with co-star Cary Grant, who was nearly 31 years her senior. She was only 22 while he was 53, and she rejected a marriage proposal from him. They were paired together a second time in the family-friendly romantic comedy Houseboat (1958). While under contract to Paramount, Sophia starred in Desire Under the Elms (1958), The Key (1958), The Black Orchid (1958), It Started in Naples (1960), Heller in Pink Tights (1960), A Breath of Scandal (1960), and The Millionairess (1960) before returning to Italy to star in Two Women (1960). The film was a period piece about a woman living in war-torn Italy who is raped while trying to protect her young daughter. Originally cast as the more glamorous child, Sophia fought against type and was re-cast as the mother, displaying a lack of vanity and proving herself as a genuine actress. This performance received international acclaim and was honored with an Academy Award for Best Actress.
Sophia remained a bona fide international movie star throughout the sixties and seventies, making films on both sides of the Atlantic, and starring opposite such leading men as Paul Newman, Marlon Brando, Gregory Peck, and Charlton Heston. Her English-language films included El Cid (1961), The Fall of the Roman Empire (1964), Arabesque (1966), Man of La Mancha (1972), and The Cassandra Crossing (1976). She gained wider respect with her Italian films, especially Marriage Italian Style (1964) and A Special Day (1977), both of which co-starred Marcello Mastroianni. During these years she received a second Oscar nomination and won five Golden Globe Awards.
From the eighties onward, Sophia's appearances on the big screen came few and far between. She preferred to spend the majority of her time raising sons Carlo Ponti Jr. (b. 1968) and Edoardo Ponti (b. 1973). Her only acting credits during the decade were five television films, beginning with Sophia Loren: Her Own Story (1980), a biopic in which she portrayed herself and her mother. She ventured into other areas of business and became the first actress to launch her own fragrance and design of eyewear. In 1982 she voluntarily spent nineteen days in jail for tax evasion.
In 1991 Sophia received an Honorary Academy Award for her body of work, and was declared "one of world cinema's greatest treasures." That same year, she experienced a terrible loss when her mother died of cancer. Her return to mainstream films in Ready to Wear (1994) was well-received, although the film as a whole was not. She followed this up with her biggest U.S. hit in years, the comedy Grumpier Old Men (1995), in which she played a sexy divorcée who seduces Walter Matthau. Over the next decade Sophia had plum roles in a few independent films like Soleil (1997), Between Strangers (2002) (directed by Edoardo), and Lives of the Saints (2004). Still beautiful at 72, she posed scantily-clad for the 2007 Pirelli Calendar. Sadly, that same year she mourned the death of her 94-year-old spouse, Carlo Ponti. In 2009, after far too much time away from film, she appeared in the musical Nine (2009) opposite Daniel Day-Lewis. These days Sophia is based in Switzerland but frequently travels to the states to spend time with her sons and their families (Eduardo is married to actress Sasha Alexander). Sophia Loren remains one of the most beloved and recognizable figures in the international film world.733 points- Actress
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The blonde, sultry, dreamy-eyed beauty of Dorothy Malone, who was born Mary Maloney in Chicago on January 29, 1924, took some time before it made an impact with American film-going audiences. But once she did, she played it for all it was worth in her one chance Academy Award-winning "bad girl" performance, a role quite unlike the classy and strait-laced lady herself.
Raised in Dallas, she was one of five children born to an accountant father and housewife mother. Two older sisters died of polio. Attending Ursuline Convent and Highland Park High School, she was quite popular (as "School Favorite"). She was also a noted female athlete while there and won several awards for swimming and horseback riding. Following graduation, she studied at Southern Methodist University with the intent of becoming a nurse, but a role in the college play "Starbound" happened to catch the eye of an RKO talent scout and she was offered a Hollywood contract.
The lovely brunette started off in typical RKO starlet mode with acting/singing/dancing/diction lessons and bit parts (billed as Dorothy Maloney) in such films as the Frank Sinatra musicals Higher and Higher (1943) and Step Lively (1944), a couple of the mystery "Falcon" entries and a showier role in Show Business (1944) with Eddie Cantor and George Murphy. RKO lost interest, however, after the two-year contract was up. Warner Bros., however, stepped up to the plate and offered the actress a contract. Now billed as Dorothy Malone, her third film offering with the studio finally injected some adrenaline into her floundering young career, when she earned the small role of a seductive book clerk in the Bogart/Bacall classic The Big Sleep (1946). Critics and audiences took notice of her captivating little part. As a reward, the studio nudged her up the billing ladder with more visible roles in Two Guys from Texas (1948), Romance on the High Seas (1948), South of St. Louis (1949) and Colorado Territory (1949), with the westerns showing off her equestrian prowess if not her acting ability.
Despite this positive movement, Warner Bros. did not extend Dorothy's contract in 1949 and she returned willingly back to her tight-knit family in her native Dallas. Taking a steadier job with an insurance agency, she happened to attend a work-related convention in New York City and grew fascinated with the big city. Deciding to recommit to her acting career, she moved to the Big Apple and studied at the American Theater Wing. In between her studies, she managed to find work on TV, which spurred freelancing "B" movie offers in the routine form of Saddle Legion (1951), The Bushwhackers (1951), the Martin & Lewis romp Scared Stiff (1953), Law and Order (1953), Jack Slade (1953), Pushover (1954) and Private Hell 36 (1954).
Things picked up noticeably once Dorothy went platinum blonde, which seemed to emphasize her overt and sensual beauty. First off was as a sister to Doris Day in Young at Heart (1954), a musical remake of Four Daughters (1938), back at Warner Bros. She garnered even better attention when she appeared in the war picture Battle Cry (1955), in which she shared torrid love scenes with film's newest heartthrob Tab Hunter, and continued the momentum with the reliable westerns Five Guns West (1955) and Tall Man Riding (1955) but not with melodramatic romantic dud Sincerely Yours (1955) which tried to sell to the audiences a heterosexual Liberace.
By this time she had signed with Universal. Following a few more westerns for good measure (At Gunpoint (1955), Tension at Table Rock (1956) and Pillars of the Sky (1956), Dorothy won the scenery-chewing role of wild, nymphomaniac Marylee Hadley in the Douglas Sirk soap opera Written on the Wind (1956) co-starring Rock Hudson, Lauren Bacall and Robert Stack. Stack and Malone had the showier roles and completely out-shined the two leads, both earning supporting Oscar nominations in the process. Stack lost in his category but Dorothy nabbed the trophy for her splendidly tramp, boozed-up Southern belle which was highlighted by her writhing mambo dance.
Unfortunately, Dorothy's long spell of mediocre filming did not end with all the hoopla she received for Written on the Wind (1956). The Tarnished Angels (1957), which reunited Malone with Hudson and Stack faltered, and Quantez (1957) with Fred MacMurray was just another run-of-the-mill western. Two major film challenges might have changed things with Man of a Thousand Faces (1957) as the unsympathetic first wife of James Cagney's Lon Chaney Sr, and as alcoholic actress Diana Barrymore in the biographic melodrama Too Much, Too Soon (1958). Cagney, however, overshadowed everyone in the first and the second was fatally watered down by the Production Code committee.
To compensate, Dorothy, at age 35 in 1959, finally was married -- to playboy actor Jacques Bergerac (Ginger Rogers's ex-husband). A daughter, Mimi, was born the following year. Fewer film offers, which included Warlock (1959) and The Last Voyage (1960), came her way as Dorothy focused more on family life. While a second daughter, Diane, was born in 1962, the turbulent marriage wouldn't last and their divorce became final in December 1964. A bitter custody battle ensued with Dorothy eventually winning primary custody.
It took the small screen to rejuvenate Dorothy's career in the mid-1960s when she earned top billing of TV's first prime time soap opera Peyton Place (1964). Dorothy, starring in Lana Turner's 1957 film role of Constance MacKenzie, found herself in a smash hit. The run wasn't entirely happy however. Doctors discovered blood clots on her lungs which required major surgery and she almost died. Lola Albright filled in until she was able to return. Just as bad, her the significance of her role dwindled with time and 20th Century-Fox finally wrote her and co-star Tim O'Connor off the show in 1968. Dorothy filed a breach of contract lawsuit which ended in an out-of-court settlement.
Her life on- and off-camera did not improve. Dorothy's second marriage to stockbroker Robert Tomarkin in 1969 would last only three months, and a third to businessman Charles Huston Bell managed about three years. Now-matronly roles in the films Winter Kills (1979), Vortex (1982), The Being (1981) and Rest in Pieces (1987), were few and far between a few TV-movies -- which included some "Peyton Place" revivals, did nothing to advance her. Malone returned and settled for good back in her native Dallas, returning to Hollywood only on occasion.
Dorothy's last film was a cameo in the popular thriller Basic Instinct (1992) as a friend to Sharon Stone. She will be remembered as one of those Hollywood stars who proved she had the talent but somehow got the short end of the stick when it came to quality films offered. She retired to Texas and died in Dallas shortly before her 94th birthday on January 19, 2018.730 points- When Americans recall famous Italian film goddesses, the names of Loren, Lollobrigida and Cardinale usually role quickly off the tongue. Not so for this Rome-born lead actress and brunet beauty who nevertheless made a respectable sexy impact in international films during the 1950's and early 1960's.
She was born Anna Maria Guerra on February 18, 1934, but took the surname Ferrero as her stage moniker in tribute to the famed musical director and conductor Willy Ferrero. Anna Maria entered films as a teenager with a prominent second female lead for director J.J. Gonzales in the drama Il cielo è rosso (1950) (The Sky Is Red). Before long her delicate, photogenic beauty and assured talent would be captured on the lens of such important Italian directors as Michelangelo Antonioni, Mario Monicelli, Carlo Lizzani, Gianni Franciolini, Dino Risi and Francesco Maselli. Although her career would only span slightly more than a decade, Ferrero achieved enviable notice for her work in films that included The Forbidden Christ (1951) with Marina Berti and Jacques Sernas; Domani è un altro giorno (1951) (Tomorrow Is Another Day) with Pier Angeli; the ill-fated lead in The Temptress (1951) opposite Michel Auclair; Fanciulle di lusso (1952) also with Sernas; Poppy (1952) with Walter Chiari; The Unfaithfuls (1953) with Lollobrigida; Febbre di vivere (1953) with Marcello Mastroianni; as composer Verdi's wife in The Life and Music of Giuseppe Verdi (1953) starring Pierre Cressoy; and The Count of Saint Elmo (1951) with Massimo Serato.
Anna's obvious allure and sensitive approach to acting made her a frequent, popular casting choice. Her rich role in Chronicle of Poor Lovers (1954) was duly noted and the film went on to win two Silver Ribbons at the Cannes Film Festival. Although she acted rarely outside her native Italy, she was part of the international cast of King Vidor's epic drama War and Peace (1956) headed by Audrey Hepburn, Henry Fonda and Mel Ferrer. While she garnered fine reviews for her outpouring of film work, Anna also was accomplished on stage, joining Vittorio Gassman's theatre company and working there for several seasons. Notable were her Ophelia in "Hamlet," Desdemona in "Othello" (which she also portrayed on film with Gassman as Iago), and the title role in the musical "Irma la Douce." With Gassman, she also played Anna Damby in the cinematic version of the Alexandre Dumas drama Kean: Genius or Scoundrel (1957). The couple had a personal relationship for several years.
Following some lesser but spirited performances in the early 1960's films The Hunchback of Rome (1960), Gold of Rome (1961) (both with French actor Jean Sorel) and her last, Countersex (1964), Anna surprised many by retiring at age 30 after marrying Sorel Jean Sorel on January 28, 1962. The couple remained married until her death on May 21, 2018 in Paris.727 points - Actress
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Faten Hamama (known as "The Lady of the Arabic Screen") has become an icon and the most important actress of Egyptian and Arabic cinema. She is also the most honored actress in the Middle East. Every decade of her life represents a new era of acting and witnessed the reshaping and progression of Egyptian cinema. The progress in her different characters when she started as a child in 1938 until today parallels the progress that modern Egyptian women have made during the 20th century and their interaction with the public, culture or political life. During the celebration of 100 years of Egyptian cinema on 1996, she was chosen as the country's most important actress, and 18 of her films were selected as among the best 150 made to that time. It was no surprise that in 2000 the Egyptian Organization of Critics and Writers named her the Star of the Century.
She was born in 1931 in Elmansoura, Egypt, the daughter of Ahmed Hamama, an employee of the Egyptian Ministry of Knowledge. Her legendary journey started as a secret statement between a six-year-old girl and her father after they watched a film in their neighborhood theater, at which leading actress and producer Asya Dagher was present. Faten told her father that she felt the audience was applauding for her as the leading actress, and her father gave her a hug with a vision of helping his daughter to become a movie star. She won a contest for the most beautiful child in Egypt, and her dad sent her picture to director Muhammad Karim (a pioneer of Egyptian cinema). Karim was looking for a child for his new film with Egyptian musician Mohamed Abdel Wahab. Faten auditioned for and got a role in this movie, Yom said (1940) ("A Happy Day"). She impressed the filmmakers so much during shooting that she was actually given more lines and scenes in the picture than were originally scripted for her. Karim put her under contract, and four years later he gave her a role in a film with Mohamed Abdel Wahab again, Russassa fil kalb (1944) ("A Bullet in the Heart"). With her third movie with Karim, Dunia (1946), Faten showed filmmakers and audiences alike that she was was an actress ready for bigger roles. Her father, along with her family, moved to Cairo to help her in her career. She also began studying her craft at the High Institute of Acting in 1946.
With actor and director Youssef Wahbi (known as the dean of Egyptian theater), Faten started a new stage of her career, in melodramas. Yousef saw her talent in Karim's movies and was able to showcase it to even better advantage in his next film, Malak al rahma (1946) ("The Angel of Mercy"), in which she played his daughter. Although only 15 years old at the time, it was generally agreed that she stole the film. This teenager was soon the talk of the Egyptian cinema, and her star hasn't set since then. She made more films with Wahby, such as Confession Chair (1949) ("The Chair of Confession"), in which she played a lover of the cardinal's brother who mistakenly goes to jail for her father's murder. She had another box-office hit with El yatimatain (1948) ("The Two Orphans"), followed by a successful comedy of the travails of a wife and her mother in law in Sitt el beit (1949) ("The Lady of the House"). She was the favorite of novelists because she could attract the best writers and directors to a project, and it wasn't soon before her name alone would pretty much guarantee success for whatever film she was in.
The 1950s brought new directors to Egyptian cinema and was the beginning of what was to become known as "The Golden Age of Egyptian Cinema". Faten appeared in a number of films by these new directors, such as Salah Abouseif's first realism picture, Laka yom ya zalem (1951) ("Your Day Will Come"), which was a box-office hit and was shown at the prestigious Cannes Film Festival in France. She appeared in such successful films as El tarik el masdud (1958) ("The Barred Road") and won a Best Actresss award for her performance in the romantic political movie La wakta lil hub (1963) ("No Time for Love"). She also supported director Youssef Chahine in his first movie, Baba Amin (1950), then again in his even more successful The Blazing Sun (1954), a realistic work that was also featured at the Cannes Film Festival (Youssef is on record as saying that Faten is his favorite actress and the best Egyptian actress of all time).
She also worked with director Kamal El-Shaikh in his first movie, which introduced the mystery genre to Egyptian cinema, House No. 13 (1952) ("House No. 13"), and again in Lan aataref (1961) ("I Will Not Confess"). Their film El-Lailah el-Akhirah (1963) ("Last Night") captured at least 10 awards in the 1965 national competition and was also shown at the Cannes festival. She excelled at comedy, as evidenced by her astonishing role in El-Ustazah Fatmah (1952) as lawyer Fatma. She also worked closely with two other directors of this period, Ezz El Dine Zulficar and Henry Barakat, and made successful films with both. In fact, she married Zulficar in 1947 while shooting Abu Zeid el Hilali (1947). He was known as the king of "romantic" movies and together they worked to further that vision, as in Khulud (1948) ("Immortality") by Ezz El-Dine Zulficar. They formed a production company and made Moawad ma al hayat (1953) ("Appointment with Life") also directed by Ezz El Dine Zulficar, which was voted movie of the year and received both critical and box-office success (it was this film that caused critics to name her the "Lady of the Arabic Screen", a title she has kept to this day). Faten soon became the highest-paid actress in Egyptian cinema, and remained so until her final feature, Ardh el-Ahlam (1993) ("Land of Dreams") and TV series, Wagh el qamar (2000) ("Face of the Moon"). More successful romantic roles with Ezzel Dine followed, such as Mawad ma al saada (1954) ("Appointment with Happiness"). It was during this period that Ezz El-Dine Zulficar made his famous quote about Faten: "The distance between Faten and the next runner-up is like the distance between 1 and 10". Although they were divorced in 1954, and Faten married Omar Sharif in 1955, she and Ezz El Dine Zulficar continued to make films together, many of which are considered classics of Egyptian romantic cinema, such as Bain el atlal (1959) ("Among the Ruins") and what many consider their masterpiece, Nahr el hub (1960) ("The River of Love"), their version of Lev Tolstoy's great story "Anna Karenina", opposite Omar Sharif, and the two became one of the classic romantic couples of Egyptian cinema, appearing again in Our Best Days (1955) ("Our Best Days"), Sayedat el kasr (1958) ("Lady of the Castle"), Sleepless (1957) ("Sleepless") and The Blazing Sun (1954) ("Struggle in the Valley"). Sharif and Faten divorced on 1974. He made what became a famous statement about Faten, that he only married once because he only loved once, and that was Faten.
Director Henry Barakat specialized in musical romantic movies, social commentary and women's rights in society. During the making of Lahn al khouloud (1952) ("Immortal Song"), they developed a close professional bond, and Barakat used Faten to explore all his talent and all his visions. The success of the romantic musical Lahn al khouloud (1952) that became the movie of the year challenged both of them to make more successful musical romantic films, which they did with such pictures as Daiman maak (1954) ("With You Forever") and Mawad gharam (1956) ("Appointment with Love"). IT was with Barakat that Fatan made her most famous and beloved picture, with her role as Ammna in Doa al karawan (1959) ("The Nightingale's Prayer"), which describes differences between revenge and culture through a romantic story. It was nominated for Best Film at Berlin's International Film Festival and almost made it to the Oscars in the US. This film was chosen as one of best ten movies ever made in Egypt. After this picture Faten made several more films that promoted women's rights in society and created more cultural awareness, such as El bab el maftuh (1963) ("The Open Door"), for which she received the Best Actress award at the Jakarta (Indonesia) International Film Festival. One year later they did it again in El haram (1965) ("The Sin"), which was shown at the Cannes festival that year and was chosen as one of best five movies ever made in Egypt. Faten and Barakat continued their journey together through decades for more outstanding roles as Kheit al rafeigh, -al (1971) ("The Thin Thread"), Mouths and Rabbits (1977) ("Mouths and Rabbits"); Faten won Best Actress awards from two international festival for her role in this movie, and it was the highest-grossing Egyptian film ever made until that time. Their last picture together was a remarkable hit, Leilet al quabd al Fatma (1984) ("The Night of Fatma's Arrest"). Their journey was crowned by a lifetime achievement award for their films together from the Montpellier International Film Festival on 1993. Barakat's was quoted as saying, "If I could get Faten in my films, I will guarantee us the best picture".
Faten left Egypt from 1966-1971 because she resisted political pressure that was applied to her. She divided her time between Lebanon and London, England. During this period Egyptian president Gamal Abdel Nasser asked some prominent critics and writers to try to persuade her to return to Egypt, saying that "Faten Hamama is a national treasure". Her return to Egypt on 1971 breathed life back into Egyptian cinema. She insisted that her films reflect the values of the society through the family relationships. Her first film upon return was Sahera (1971) with Salah Zulfikar. Her role in Imberaturiyyat Mim (1972) ("Empire M") as a widow with six children and the struggles she endured to raise them made the film a success both critically and financially, and she earned a special award from an organization of Soviet Union women when the film was shown at the Moscow International Film Festival. Her film Orid hallan (1975) ("I Need a Solution") which was produced by Salah Zulfikar was not only a big hit but resulted in changes to Egyptian marriage and divorce laws. Faten won the Best Actress award at the Cairo International Film Festival and a Prize of Recognition at the Teheran (Iran) Film Festival. She continued to make films that commented on society, such as Oghneyat elmoot (1973) ("The Song of Death"), Ualla azae lel sayedat (1979) ("No Condolences for Ladies"), Bad Day Good Day (1988) ("Bitter Days, Sweet Days") and her last feature, Ardh el-Ahlam (1993) ("Land of Dreams"), and her TV series, Conscience of Teacher Hikmat (1991) ("The Consciousness of Teacher Hekmat") and Wagh el qamar (2000) ("The Face of the Moon"), which was shown in 23 countries in the Middle East.
Faten Hamama is the fourth Pyramid in Egyptian cinema, a legend in her platinum anniversary, the diamond that remained shining and kept its glowing over the decades on the silver screen.725 points- A curvaceous and comely lead and second lead actress of the 1950s and 1960s, Dianne Foster was born Olga Helen Laruska on October 31, 1928 in Edmonton, Alberta, Canada. Of Ukrainian parentage, she began her stage career performing in high school plays and in local community theater productions. Her school drama teacher saw extreme promise in her and encouraged her to continue her studies. Dianne then enrolled at the University of Alberta and majored in drama.
She eventually found work in Toronto as a model and as both a radio and stage actress. Encouraged again by her high school teacher, she saved up enough money to go to England for further training and to find work. She won a stage role in the play "The Hollow" starring Jeanne De Casalis that later toured. Following a radio job with Orson Welles, he offered her the part of Cassio's whore in a West End production of "Othello" while Laurence Olivier was holding court at the St James Theater. Welles and Peter Finch starred as Othello and Iago, respectively, with Olivier in the director's seat.
After establishing herself as a bad girl second lead in such "B" level British films as The Quiet Woman (1951), in which she played a scheming ex-girlfriend of Derek Bond and The Big Frame (1952) as a temptress opposite Mark Stevens, Dianne was encouraged to come to Hollywood in the early 1950's. Her first role in Hollywood was as a British character in a TV episode of "Four Star Playhouse" opposite David Niven. As a result of her fine performance, Harry Cohn placed her under a Columbia Pictures contract even though she had not yet secured an agent. Most of her subsequent films were standard adventures in which she provided a pleasant diversion from the rugged action going on around her. She was, on occasion, cast in more substantial roles.
Dianne made a sturdy US cinematic debut in the film noir favorite Bad for Each Other (1953) as a dedicated nurse and love interest to Dr. Tom Owen Charlton Heston. It was Lizabeth Scott who played the bad girl here. Dianne would make a strong stand in westerns notably opposite Dana Andrews in Three Hours to Kill (1954), Glenn Ford and Edward G. Robinson in The Violent Men (1955) and James Stewart and Audie Murphy in Night Passage (1957). She was also quite good, if not better, as Richard Conte's wife in The Brothers Rico (1957) as they struggle together to distance him from his mob ties. Dianne returned to England, where she appeared in Uncle Willie's Bicycle Shop (1953), as a snooty American heiress out to impress Robert Urquhart, and, briefly, in Gideon of Scotland Yard (1958) as Ronald Howard's wife who threatens Jack Hawkins' title character. Her last two films of the 1950s were opposite Alan Ladd in The Deep Six (1958) and Spencer Tracy in The Last Hurrah (1958).
In the 1960s Dianne moved into episodic TV with guest parts in dramas (Perry Mason (1957), Route 66 (1960), Peter Gunn (1958), Ben Casey (1961), Hawaiian Eye (1959), The Detectives (1959), Honey West (1965)), comedies (Petticoat Junction (1963), My Three Sons (1960), "Green Acres") and, of course, westerns (Bonanza (1959), The Deputy (1959), "Have Gun--Will Travel", Laramie (1959), Wagon Train (1957), Gunsmoke (1955), The Big Valley (1965)). She appeared in only two more films before retiring in 1967 -- co-starring with David Janssen in King of the Roaring 20's: The Story of Arnold Rothstein (1961) and with Dean Martin and Elizabeth Montgomery in the light comedy Who's Been Sleeping in My Bed? (1963).
Married twice, Dianne had one child from her first marriage and twins from her second. She retired in order to focus on marriage and family, as well as painting.
She lived in the Los Angeles area for the remainder of her life, dying on July 27, 2019, at the age of 90.720 points - Actress
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Lilia Prado was born on 30 March 1928 in Sahuayo, Michoacan, Mexico. She was an actress, known for El rincón de las vírgenes (1972), Talpa (1956) and El analfabeto (1961). She was married to Gabriel España. She died on 22 May 2006 in Mexico City, Mexico.714 points- Actress
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Green-eyed beauty Jean Elizabeth Peters flashed across the screen as a bright star during her relatively brief tenure in Hollywood. After just seven years under contract to 20th Century-Fox (1947-54), she joined in the reclusive lifestyle of her eccentric billionaire husband, Howard Hughes, and all but vanished from public view.
Jean was born in Canton, Ohio, in October of 1926. Her father died when she was ten years old. Her mother owned a tourist camp on the outskirts of town and there was enough money around to send Jean to college. She received the latter part of her tertiary education at Ohio State University and graduated with a diploma qualifying her as an English teacher. A campus popularity contest she won ended her plans as an English teacher because it came with a trip to Hollywood and a screen test. In short order, "Miss Ohio State University" was offered a seven-year contract at 20th Century-Fox with a starting salary of $150 a week.
After being picked by Darryl F. Zanuck to co-star opposite Tyrone Power in the studio's splashy big-budget swashbuckler Captain from Castile (1947), Jean came to the attention of Howard Hughes. She discreetly dated him for the remainder of the decade and continued to live an unpretentious lifestyle, rarely seen in public and eschewing the Hollywood nightlife and parties. A self-confessed tomboy, she rarely wore make-up in private and preferred to dress in jeans rather than glamorous gowns. She and her mother lived in a smallish bungalow in Bel-Air, paid for by Hughes. After relative success in her second feature, Deep Waters (1948), she became increasingly dissatisfied with the prissy roles she was assigned in her subsequent efforts. She was no shrinking violet when it came to defending her interests: she refused outright to appear in Yellow Sky (1948) (a part she thought as "too sexy") and Sand (1949), and her contract was consequently terminated. She returned to farm life in Ohio, but was back in New York in 1951 to be screen-tested by Elia Kazan for the epic biopic of Mexican revolutionary hero Emiliano Zapata in Viva Zapata! (1952), shot on location in Mexico with Marlon Brando in the lead.
Fox wisely used Jean during the next few years for similarly unglamorous outdoor roles, notably as the titular heroine of Anne of the Indies (1951), a tempestuous girl living in the Georgia swamps in Lure of the Wilderness (1952), a gum-chewing dame innocently involved in espionage in Samuel Fuller's Pickup on South Street (1953) and as Burt Lancaster's Indian squaw in the hard-hitting western Apache (1954). She got good notices in all of these films and was now recognized as a major star. As a result, she was cast in the prestigious film noir Niagara (1953), opposite Joseph Cotten and Marilyn Monroe (both of whom she befriended) and the Spencer Tracy western Broken Lance (1954). Under a new contract with Fox, Jean was now no longer in a position to refuse an assignment and, though basically unhappy with her part in Three Coins in the Fountain (1954), the picture proved to be one of her most popular pictures to date. Her next film, A Man Called Peter (1955), was to be her swan song. Following a 33-day marriage to a Texan oilman which ended in a whirlwind divorce, Jean finally married Howard Hughes in a secret ceremony and left public life for the next 13 years. She never gave interviews and retreated to an isolated hilltop mansion above the Santa Monica Mountains. In 1969 she resurfaced, studying for a degree in sociology at UCLA under an assumed name.
When Jean's marriage to Hughes ended in June 1971, the actress settled for the relatively modest sum of $70,000 a year and happily waived any further claims on the estate. That same year she got married for the third time, to 20th Century-Fox vice-president Stan Hough. Her screen career was briefly resuscitated when she was cast in the miniseries Arthur Hailey's the Moneychangers (1976) and she was last seen in an episode of Murder, She Wrote (1984). She devoted her final years to charitable causes and never spoke in public about her years with Howard Hughes.713 points- Actress
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Ruth Roman was born in Lynn, Massachusetts, the youngest of three daughters of Lithuanian-Jewish parents Mary Pauline (Gold) and Abraham Roman. Her father, a carnival barker, died when she was a small child, forcing her mother to support the family by working as a waitress and cleaning woman. Ruth grew up in the poor tenement district of Boston, Massachusetts, where she went to school. However, she left school after just two years to pursue an acting career. Her chosen path proved to be strewn with obstacles: in New York, she obtained a job posing for stills for a crime magazine, but theatrical work eluded her. She then worked as a hat check girl at a night club before calling it quits and returning to Boston. There, she made ends meet as an usherette during the day while at night performing with the New England Repertory Company, her first steady acting job. She also studied drama and eventually graduated from the Bishop-Lee Theatre School.
Trying to get into films, Ruth unsuccessfully made the rounds of agents and producers for two years (1940-42), until a bit part as a WAVE came her way in the film Stage Door Canteen (1943). With $200 to her name, she purchased a one-way ticket to Hollywood, where she found shared accommodation with other aspiring starlets, naming it, optimistically, 'the House of the Seven Garbos'. After a screen test with Warner Brothers failed to result in a contract, Ruth had another run of six hard years playing bit parts, many of them uncredited, some ending up on the cutting room floor. A sole speaking part of consequence was in the titular role of Jungle Queen (1945), a Universal serial (after subsequent acting lessons, Ruth was aghast when the serial was rereleased in 1951).
Ruth finally got her big break when producer Dore Schary cast her (against character, as a murderess) in the RKO thriller The Window (1949). That same year, she successfully auditioned for Stanley Kramer's boxing drama Champion (1949) as the dependable wife of the fighter (Kirk Douglas). After this turning point in her life, the shapely, smoky-voiced brunette secured a contract with Warner Brothers. During the next phase of her career, she moved effortlessly from glamorous and seductive to demure and wholesome in films opposite stars like James Stewart, Errol Flynn, and Gary Cooper. Look Magazine billed her as the 'Big Time Movie Personality of 1950', and by the following year she was receiving some 500 fan letters per week.
While many of her leads were in westerns (albeit mostly A-grade ones), Ruth was somewhat more memorable in support of Farley Granger (as his upper-crust lover and the raison d'etre for the planned murder of his wife) in Alfred Hitchcock's Strangers on a Train (1951). Another offbeat role was as a gangster's moll in the British-made updated adaptation of Shakespeare's Joe MacBeth (1955). As Lily, she is the power behind angst-ridden Paul Douglas ('Joe'), whom she easily manipulates to do her bidding. In The Bottom of the Bottle (1956), she was at her dependable best as the supportive wife of lawyer Joseph Cotten. Arguably, her last noteworthy performance on the big screen was in Alexander Singer's romance/drama Love Has Many Faces (1965).
By the 1960s, Ruth had made the transition to middle-aged character parts and began to appear mostly on television in shows like The Outer Limits (1963), Mannix (1967), Gunsmoke (1955), and (in a recurring role) in The Long, Hot Summer (1965). She also toured nationally with theatrical productions of "Plaza Suite", "Who's Afraid of Virginia Woolf", and "Two for the Seesaw". For the actress, who was said to disdain the trimmings of Hollywood stardom, real-life drama came when she and her son counted among the 760 survivors of the sinking of the luxury cruise liner 'Andrea Doria' in 1956. In September 1967, she jumped from her burning car but still managed to make her scheduled performance in "Beekman Place" at the Ivanhoe Theatre. Ruth died in September 1999 at her home in Laguna Beach, aged 76.713 points- Actress
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Petite, seductive French leading lady who underwent several early career changes before settling on the acting profession. Corinne Calvet first studied criminal law at France's renowned Sorbonne, but then turned her attention to interior decoration specializing in fine arts and antiques. After studying at the L'Ecole du Cinema in Paris, she made her debut on the stage and also worked as a radio hostess. Small film roles followed. From the time Corinne was 'discovered' by famous producer Hal B. Wallis, brought to America, and signed to a contract with Paramount in 1947, her life developed into a decade-long roller-coaster of feuds, lawsuits, publicity stunts and even an attempted suicide by sleeping pills.
Corinne's Hollywood career got off to a turbulent start, the fiery actress heatedly challenging Wallis over the size of her salary. In spite of growing animosity between her and the producer, she was eventually cast in her first Paramount picture, Rope of Sand (1949) , a film noir set in South Africa and co-starring Burt Lancaster and Paul Henreid. The film emphasized Corinne's sultry appeal and her sexy, somewhat husky voice. She played a nightclub singer, which worked well since she could actually sing (and did so at the famed Manhattan night club Le Cupidon in 1952). The New York Times review (August 4th, 1949) remarked that the cast, though playing somewhat shady characters, were "all products of good acting, and therefore are strangely interesting".
"Rope of Sand" garnered mostly good reviews and was certainly one of the better roles Corinne was to find in Hollywood. Though she featured opposite a number of big-name stars, such as Danny Kaye and James Cagney, she was largely consigned to be the ornamental French dessert. Of her part in On the Riviera (1951), Bosley Crowther commented that she was "pretty, but neglected" (NY Times May 24th, 1951). Corinne (Miss Golden Globe 1952), later gave vent to her frustration at having never been given a proper chance to display her acting range in her 1983 memoir 'Has Corinne Been a Good Girl?'.
The headlines made in her private life often overshadowed her screen career. One highly publicized (and apparently staged) incident had her suing actress Zsa Zsa Gabor over a statement made to, among others, a newspaper columnist, claiming that Corinne's French background was a studio invention. In another, more bizarre, instance in 1967, her then-boyfriend claimed in court that she had 'used voodoo on him' in order to gain control of his finances. There were also two acrimonious and very public divorces from actors John Bromfield and Jeffrey Stone.
From the mid 1950's, Corinne began to appear in international co-productions, dividing her time between Los Angeles and her lavishly furnished top floor apartment at the Avenue MacMahon, near the Arc de Triomphe, in Paris. After the publication of her memoir in 1983, Corinne retired from acting and re-invented herself as a therapist, specializing in hypnosis. She settled down in Santa Monica, California, where she died in June 2001.713 points- Actress
- Soundtrack
Margarita Papageorgiou was born on 1 January 1935 in Greece. She was an actress, known for The Happy Beginning (1954), The Ogre of Athens (1956) and The Magic City (1954). She died on 24 January 2021 in Greece.709 points- Producer
- Actress
- Production Manager
The woman who will always be remembered as the crazy, accident-prone, lovable Lucy Ricardo was born Lucille Desiree Ball on August 6, 1911 in Jamestown, New York, the daughter of Desiree Evelyn "DeDe" (Hunt) and Henry Durrell "Had" Ball. Her father died before she was four, and her mother worked several jobs, so she and her younger brother were raised by their grandparents. Always willing to take responsibility for her brother and young cousins, she was a restless teenager who yearned to "make some noise". She entered a dramatic school in New York City, but while her classmate Bette Davis received all the raves, she was sent home; "too shy". She found some work modeling for Hattie Carnegie's and, in 1933, she was chosen to be a "Goldwyn Girl" and appear in the film Roman Scandals (1933).
She was put under contract to RKO Radio Pictures and several small roles, including one in Top Hat (1935), followed. Eventually, she received starring roles in B-pictures and, occasionally, a good role in an A-picture, like in Stage Door (1937) or The Big Street (1942). While filming Too Many Girls (1940), she met and fell madly in love with a young Cuban actor-musician named Desi Arnaz. Despite different personalities, lifestyles, religions and ages (he was six years younger), he fell hard, too, and after a passionate romance, they eloped and were married in November 1940. Lucy soon switched to Metro-Goldwyn-Mayer, where she got better roles in films such as Du Barry Was a Lady (1943); Best Foot Forward (1943) and the Katharine Hepburn-Spencer Tracy vehicle Without Love (1945). In 1948, she took a starring role in the radio comedy "My Favorite Husband", in which she played the scatterbrained wife of a Midwestern banker. In 1950, CBS came knocking with the offer of turning it into a television series. After convincing the network brass to let Desi play her husband and to sign over the rights to and creative control over the series to them, work began on the most popular and universally beloved sitcom of all time.
With I Love Lucy (1951), she and Desi promoted the 3-camera technique now the standard in filming sitcoms using 35mm film (the earliest known example of the 3-camera technique is the first Russian feature film, "Defence of Sevastopol" in 1911). Desi syndicated I Love Lucy. Lucille Ball was the first woman to own her own studio as the head of Desilu Productions.
Lucille Ball died at Cedars-Sinai Medical Center, age 77, of an acute aortic aneurysm on April 26, 1989 in Los Angeles, CA.708 points- Actress
- Soundtrack
Her father was a minister, and when she joined a local stock company as a youngster she changed her name to avoid embarrassing her family. She worked in vaudeville and debuted on Broadway in 1916. Her film debut was in A House Divided (1931). She repeated her stage role in Dead End (1937) as Baby Face Martin (Humphrey Bogart)'s mother, which led to a number of slum mother parts. She played very strong role of Lucy, the dude ranch operator in The Women (1939). She achieved popularity as a comedienne in six 1940s movies made with Wallace Beery e.g., Barnacle Bill (1941). The character which would dominate her remaining career was established when she played Ma Kettle in The Egg and I (1947), for which she received an Academy Award nomination for best supporting actress. She began her co-starring series with Percy Kilbride the following year in Feudin', Fussin' and A-Fightin' (1948) and continued through seven more. Her last movie was a "Kettle" without Kilbride: The Kettles on Old MacDonald's Farm (1957).708 points- Actress
- Stunts
- Soundtrack
Ava Lavina Gardner was born on December 24, 1922 in Grabtown, North Carolina, to Mary Elizabeth (née Baker) and Jonas Bailey Gardner. Born on a tobacco farm, where she got her lifelong love of earthy language and going barefoot, Ava grew up in the rural South. At age 18, her picture in the window of her brother-in- law's New York photo studio brought her to the attention of MGM, leading quickly to Hollywood and a film contract based strictly on her beauty. With zero acting experience, her first 17 film roles, 1942-1945, were one-line bits or little better. After her first starring role in B-grade Whistle Stop (1946), MGM loaned her to Universal for her first outstanding film The Killers (1946). Few of her best films were made at MGM which, keeping her under contract for 17 years, used her popularity to sell many mediocre films. Perhaps as a result, she never believed in her own acting ability, but her latent talent shone brightly when brought out by a superior director, as with John Ford in Mogambo (1953) and George Cukor in Bhowani Junction (1956).
After three failed marriages, dissatisfaction with Hollywood life prompted Ava to move to Spain in 1955; most of her subsequent films were made abroad. By this time, stardom had made the country girl a cosmopolitan, but she never overcame a deep insecurity about acting and life in the spotlight. Her last quality starring film role was in The Night of the Iguana (1964), her later work being (as she said) strictly "for the loot". In 1968, tax trouble in Spain prompted a move to London, where she spent her last 22 years in reasonable comfort. Her film career did not bring her great fulfillment, but her looks may have made it inevitable; many fans still consider her the most beautiful actress in Hollywood history. Ava Gardner died at age 67 of bronchial pneumonia on January 25, 1990 in Westminister, London, England.707 points