Classic Stars: The New Class (1950s and 60s Stars)
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Screen legend, superstar, and the man with the most famous blue eyes in movie history, Paul Leonard Newman was born on January 26, 1925, in Cleveland, Ohio, the second son of Arthur Sigmund Newman (died 1950) and Theresa Fetsko (died 1982). His elder brother was Arthur S. Newman Jr., named for their father, a Jewish businessman who owned a successful sporting goods store and was the son of emigrants from Poland and Hungary. Newman's mother (born Terézia Fecková, daughter of Stefan Fecko and Mária Polenak) was a Roman Catholic Slovak from Homonna, Pticie (former Austro-Hungarian Empire), who became a practicing Christian Scientist. She and her brother, Newman's uncle Joe, had an interest in the creative arts, and it rubbed off on him. He acted in grade school and high school plays. The Newmans were well-to-do and Paul Newman grew up in affluent Shaker Heights. Before he became an actor, Newman ran the family sporting goods store in Cleveland, Ohio.
By 1950, the 25-year-old Newman had been kicked out of Ohio University, where he belonged to the Phi Kappa Tau fraternity, for unruly behavior (denting the college president's car with a beer keg), served three years in the United States Navy during World War II as a radio operator, graduated from Ohio's Kenyon College, married his first wife, Jacqueline "Jackie" Witte (born 1929), and had his first child, Scott. That same year, his father died. When he became successful in later years, Newman said if he had any regrets it would be that his father was not around to witness his success. He brought Jackie back to Shaker Heights and he ran his father's store for a short period. Then, knowing that wasn't the career path he wanted to take, he moved Jackie and Scott to New Haven, Connecticut, where he attended Yale University's School of Drama.
While doing a play there, Newman was spotted by two agents, who invited him to come to New York City to pursue a career as a professional actor. After moving to New York, he acted in guest spots for various television series and in 1953 came a big break. He got the part of understudy of the lead role in the successful Broadway play "Picnic". Through this play, he met actress Joanne Woodward (born 1930), who was also an understudy in the play. While they got on very well and there was a strong attraction, Newman was married and his second child, Susan, was born that year. During this time, Newman was accepted into the much admired and popular New York Actors Studio, although he did not actually audition.
In 1954, a film Newman was very reluctant to do was released, The Silver Chalice (1954). He considered his performance in this costume epic to be so bad that he took out a full-page ad in a trade paper apologizing for it to anyone who might have seen it. He had always been embarrassed about the film and reveled in making fun of it. He immediately wanted to return to the stage, and performed in "The Desperate Hours". In 1956, he got the chance to redeem himself in the film world by portraying boxer Rocky Graziano in Somebody Up There Likes Me (1956), and critics praised his performance. In 1957, with a handful of films to his credit, he was cast in The Long, Hot Summer (1958), co-starring Joanne Woodward.
During the shooting of this film, they realized they were meant to be together and by now, so did his then-wife Jackie, who gave Newman a divorce. He and Woodward wed in Las Vegas in January 1958. They went on to have three daughters together and raised them in Westport, Connecticut. In 1959, Newman received his first Academy Award nomination for Best Actor, in Cat on a Hot Tin Roof (1958). The 1960s would bring Newman into superstar status, as he became one of the most popular actors of the decade, and garnered three more Best Actor Oscar nominations, for The Hustler (1961), Hud (1963) and Cool Hand Luke (1967). In 1968, his debut directorial effort Rachel, Rachel (1968) was given good marks, and although the film and Woodward were nominated for Oscars, Newman was not nominated for Best Director. However, he did win a Golden Globe Award for his direction.
1969 brought the popular screen duo of Newman and Robert Redford together for the first time when Butch Cassidy and the Sundance Kid (1969) was released. It was a box office smash. Through the 1970s, Newman had hits and misses from such popular films as The Sting (1973) and The Towering Inferno (1974) to lesser known films as The Life and Times of Judge Roy Bean (1972) to a cult classic Slap Shot (1977). After the death of his only son, Scott, in 1978, Newman's personal life and film choices moved in a different direction. His acting work in the 1980s and on is what is often most praised by critics today. He became more at ease with himself and it was evident in The Verdict (1982) for which he received his sixth Best Actor Oscar nomination and, in 1987, finally received his first Oscar for The Color of Money (1986), almost thirty years after Woodward had won hers. Friend and director of Somebody Up There Likes Me (1956), Robert Wise accepted the award on Newman's behalf as the actor did not attend the ceremony.
Films were not the only thing on his mind during this period. A passionate race car driver since the early 1970s (despite being color-blind), he was co-founder of Newman-Haas racing in 1982, and also founded "Newman's Own", a successful line of food products that has earned in excess of $100 million, every penny of which Newman donated to charity. He also started The Hole in the Wall Gang Camps, an organization for children with serious illness. He was as well known for his philanthropic ways and highly successful business ventures as he was for his legendary actor status.
Newman's marriage to Woodward lasted a half-century. Connecticut was their primary residence after leaving Hollywood and moving East in 1960. Renowned for his sense of humor, in 1998 he quipped that he was a little embarrassed to see his salad dressing grossing more than his movies. During his later years, he still attended races, was much involved in his charitable organizations, and in 2006, he opened a restaurant called Dressing Room, which helps out the Westport Country Playhouse, a place in which Newman took great pride. In 2007, while the public was largely unaware of the serious illness from which he was suffering, Newman made some headlines when he said he was losing his invention and confidence in his acting abilities and that acting was "pretty much a closed book for me". A smoker for many years, Newman died on September 26, 2008, aged 83, from lung cancer.- Actress
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Joanne Gignilliat Trimmier Woodward was born on February 27, 1930, in Thomasville, Georgia, to Wade Woodward and Elinor Gignilliat Trimmier Woodward in a modest household. Her one older brother, Wade Jr., who was the favorite of her father, eventually became an architect. Elinor Woodward was a quite a movie buff and enjoyed going to picture shows often. Joanne claims she was nearly born in the middle of a Joan Crawford movie (Our Modern Maidens (1929)). Her mother wanted to name her Joan, but being Southern, she changed it to Joanne.
Thomasville was a typical small town in southern Georgia, around ten miles from the Florida border. Joanne was born right into the Great Depression. Her father was an administrator in the Thomasville school system, and her family was raised Episcopalian. Joanne's mother being an avid movie lover, it wasn't a surprise that Joanne wanted to go into the acting profession. Her father wasn't too keen on the idea, but her mother saw it coming and was thrilled. Joanne and her mother both adored the movie Wuthering Heights (1939) starring Laurence Olivier, and in 1939 Elinor took her daughter to the premiere of Gone with the Wind (1939) in Atlanta. Pulling up in a limo with the love of his life, Vivien Leigh (who starred in Gone with the Wind (1939)), Laurence Olivier was shocked when 9-year-old Joanne hopped right into the limo and sat in his lap without any warning. Years later when Joanne was famous, Olivier keenly remembered this incident. She later worked with Olivier in Come Back, Little Sheba (1977).
In her teens, Joanne entered and won many Georgia beauty contests. Her mother said that "she was the prettiest girl in town". But all Joanne wanted to do was act, and she saw beauty contests as the first step toward her dream. When she was of age, she enrolled in Louisiana State University, majoring in drama. After graduation and doing small plays, Joanne headed to New York and studied acting with Sanford Meisner. The first thing he tackled was Joanne's southern drawl.
Soon, Joanne was starring in television productions and theater. One day, she was introduced by her agent to another young actor at her level by the then-unknown name of Paul Newman. Paul's first reaction was, "Jeez, what an extraordinarily pretty girl". Joanne, while admitting that he was very good-looking, didn't like him at first sight, but she couldn't resist him. Soon they were working closely together as understudies for the Broadway production of "Picnic" and got along very well. They would have long conversations about anything and everything. Then both their movie careers took off: Joanne with Count Three and Pray (1955) and Paul with The Silver Chalice (1954). Also adding to the tension was Paul's wife, Jackie, who refused to get a divorce when Paul asked her for one. He wanted to marry Joanne; Jackie would simply not have it. Eventually, Jackie saw the anguish this was causing Paul and agreed to a divorce. Less than a week after the divorce was final, Paul married Joanne in Las Vegas on January 29, 1958, just months before Joanne won her Best Actress Oscar for The Three Faces of Eve (1957), in which she plays a woman with multiple personality disorder.
On April 8, 1959, Joanne gave birth to their first child, Elinor Teresa Newman, named after her and Paul's mothers. They both continued on with their careers, doing movies both together and apart. Two more children followed: Melissa Steward Newman on September 17, 1961, and Claire Olivia Newman on April 21, 1965. Since then, Joanne has been extremely busy in theater, film and television as well as ballet performances and very involved with charities and taking care of her family. In 2003, Joanne starred in a movie with Paul on HBO.- Actor
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Salvatore (Sal) Mineo Jr. was born to Josephine and Sal Sr. (a casket maker), who emigrated to the U.S. from Sicily. His siblings were Michael, Victor and Sarina. Sal was thrown out of parochial school and, by age eight, was a member of a street gang in a tough Bronx neighborhood. His mother enrolled him in dancing school and, after being arrested for robbery at age ten, he was given a choice of juvenile confinement or professional acting school.
He soon appeared in the theatrical production "The Rose Tattoo" with Maureen Stapleton and Eli Wallach and as the young prince in "The King and I" with Gertrude Lawrence and Yul Brynner. At age 16 he played a much younger boy in Six Bridges to Cross (1955) with Tony Curtis and later that same year played Plato in James Dean's Rebel Without a Cause (1955). He was nominated for Best Supporting Actor for his performance in this film and again for his role as Dov Landau in Exodus (1960).
Expanding his repertoire, Mineo returned to the theatre to direct and star in the play "Fortune and Men's Eyes" with successful runs in both New York and Los Angeles. In the late 1960s and 1970s he continued to work steadily in supporting roles on TV and in film, including Dr. Milo in Escape from the Planet of the Apes (1971) and Harry O (1973). In 1975 he returned to the stage in the San Francisco hit production of "P.S. Your Cat Is Dead". Preparing to open the play in Los Angeles in 1976 with Keir Dullea, he returned home from rehearsal the evening of February 12th when he was attacked and stabbed to death by a stranger. A drifter named Lionel Ray Williams was arrested for the crime and, after trial in 1979, convicted and sentenced to life in prison for the murder, but was paroled in 1990. Although taken away far too soon, the memory of Sal Mineo continues to live on through the large body of TV and film work that he left behind.- Actor
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James Byron Dean was born February 8, 1931 in Marion, Indiana, to Mildred Marie (Wilson) and Winton A. Dean, a farmer turned dental technician. His mother died when Dean was nine, and he was subsequently raised on a farm by his aunt and uncle in Fairmount, Indiana. After grade school, he moved to New York to pursue his dream of acting. He received rave reviews for his work as the blackmailing Arab boy in the New York production of Gide's "The Immoralist", good enough to earn him a trip to Hollywood. His early film efforts were strictly small roles: a sailor in the Dean Martin and Jerry Lewis overly frantic musical comedy Sailor Beware (1952); a GI in Samuel Fuller's moody study of a platoon in the Korean War, Fixed Bayonets! (1951) and a youth in the Piper Laurie-Rock Hudson comedy Has Anybody Seen My Gal (1952).
He had major roles in only three movies. In the Elia Kazan production of John Steinbeck's East of Eden (1955) he played Cal Trask, the bad brother who could not force affection from his stiff-necked father. His true starring role, the one which fixed his image forever in American culture, was that of the brooding red-jacketed teenager Jim Stark in Nicholas Ray's Rebel Without a Cause (1955). George Stevens' filming of Edna Ferber's Giant (1956), in which he played the non-conforming cowhand Jett Rink who strikes it rich when he discovers oil, was just coming to a close when Dean, driving his Porsche Spyder race car, collided with another car while on the road near Cholame, California on September 30, 1955. He had received a speeding ticket just two hours before. At age 24, James Dean was killed almost immediately from the impact from a broken neck. His very brief career, violent death and highly publicized funeral transformed him into a cult object of apparently timeless fascination.- Actress
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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.- Actor
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One of Hollywood's finest character / "Method" actors, Eli Wallach was in demand for over 60 years (first film/TV role was 1949) on stage and screen, and has worked alongside the world's biggest stars, including Clark Gable, Clint Eastwood, Steve McQueen, Marilyn Monroe, Yul Brynner, Peter O'Toole, and Al Pacino, to name but a few.
Wallach was born on 7 December 1915 in Brooklyn, NY, to Jewish parents who emigrated from Poland, and was one of the few Jewish kids in his mostly Italian neighborhood. His parents, Bertha (Schorr) and Abraham Wallach, owned a candy store, Bertha's Candy Store. He went on to graduate with a B.A. from the University of Texas in Austin, but gained his dramatic training with the Actors Studio and the Neighborhood Playhouse. He made his debut on Broadway in 1945, and won a Tony Award in 1951 for portraying Alvaro Mangiacavallo in the Tennessee Williams play "The Rose Tattoo".
Wallach made a strong screen debut in 1956 in the film version of the Tennessee Williams play Baby Doll (1956), shined as "Dancer", the nattily dressed hitman, in director Don Siegel's film-noir classic The Lineup (1958), and co-starred in the heist film Seven Thieves (1960). Director John Sturges then cast Wallach as vicious Mexican bandit Calvera in The Magnificent Seven (1960), the western adaptation of the Akira Kurosawa epic Seven Samurai (1954). The Misfits (1961), in the star-spangled western opus How the West Was Won (1962), the underrated WW2 film The Victors (1963), as a kidnapper in The Moon-Spinners (1964), in the sea epic Lord Jim (1965) and in the romantic comedy How to Steal a Million (1966).
Looking for a third lead actor in the final episode of the "Dollars Trilogy", Italian director Sergio Leone cast the versatile Wallach as the lying, two-faced, money-hungry (but somehow lovable) bandit "Tuco" in the spectacular The Good, the Bad and the Ugly (1966) (aka "The Good, The Bad and The Ugly"), arguably his most memorable performance. Wallach kept busy throughout the remainder of the '60s and into the '70s with good roles in Mackenna's Gold (1969), Cinderella Liberty (1973), Crazy Joe (1974), The Deep (1977) and as Steve McQueen's bail buddy in The Hunter (1980).
The 1980s was an interesting period for Wallach, as he was regularly cast as an aging doctor, a Mafia figure or an over-the-hill hitman, such as in The Executioner's Song (1982), Our Family Honor (1985), Tough Guys (1986), Nuts (1987), The Two Jakes (1990) and as the candy-addicted "Don Altabello" in The Godfather Part III (1990). At 75+ years of age, Wallach's quality of work was still first class and into the 1990s and beyond, he has remained in demand. He lent fine support to Vendetta: Secrets of a Mafia Bride (1990), Teamster Boss: The Jackie Presser Story (1992), Naked City: Justice with a Bullet (1998) and Keeping the Faith (2000). Most recently Wallach showed up as a fast-talking liquor store owner in Mystic River (2003) and in the comedic drama King of the Corner (2004).
In early 2005, Eli Wallach released his much anticipated autobiography, "The Good, The Bad And Me: In My Anecdotage", an enjoyable reading from one of the screen's most inventive and enduring actors.
Eli Wallach was very much a family man who remained married to his wife Anne Jackson for 66 years. When Wallach died at 98, in 2014, in Manhattan, NY, he was survived by his wife, three children, five grandchildren and several great-grandchildren.- Actor
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Ernest Borgnine was born Ermes Effron Borgnino on January 24, 1917 in Hamden, Connecticut. His parents were Anna (Boselli), who had emigrated from Carpi (MO), Italy, and Camillo Borgnino, who had emigrated from Ottiglio (AL), Italy. As an only child, Ernest enjoyed most sports, especially boxing, but took no real interest in acting. At age 18, after graduating from high school in New Haven, and undecided about his future career, he joined the United States Navy, where he stayed for ten years until leaving in 1945. After a few factory jobs, his mother suggested that his forceful personality could make him suitable for a career in acting, and Borgnine promptly enrolled at the Randall School of Drama in Hartford. After completing the course, he joined Robert Porterfield's famous Barter Theatre in Abingdon, Virginia, staying there for four years, undertaking odd jobs and playing every type of role imaginable. His big break came in 1949, when he made his acting debut on Broadway playing a male nurse in "Harvey".
In 1951, Borgnine moved to Los Angeles to pursue a movie career, and made his film debut as Bill Street in The Whistle at Eaton Falls (1951). His career took off in 1953 when he was cast in the role of Sergeant "Fatso" Judson in From Here to Eternity (1953). This memorable performance led to numerous supporting roles as "heavies" in a steady string of dramas and westerns. He played against type in 1955 by securing the lead role of Marty Piletti, a shy and sensitive butcher, in Marty (1955). He won an Academy Award for Best Actor for his performance, despite strong competition from Spencer Tracy, Frank Sinatra, James Dean and James Cagney. Throughout the 1950s, 1960s and 1970s, Borgnine performed memorably in such films as The Catered Affair (1956), Ice Station Zebra (1968) and Emperor of the North (1973). Between 1962 and 1966, he played Lt. Commander Quinton McHale in the popular television series McHale's Navy (1962). In early 1984, he returned to television as Dominic Santini in the action series Airwolf (1984) co-starring Jan-Michael Vincent, and in 1995, he was cast in the comedy series The Single Guy (1995) as doorman Manny Cordoba. He also appeared in several made-for-TV movies.
Ernest Borgnine has often stated that acting was his greatest passion. His amazing 61-year career (1951 - 2012) included appearances in well over 100 feature films and as a regular in three television series, as well as voice-overs in animated films such as All Dogs Go to Heaven 2 (1996), Small Soldiers (1998), and a continued role in the series SpongeBob SquarePants (1999). Between 1973 until his death, Ernest was married to Tova Traesnaes, who heads her own cosmetics company. They lived in Beverly Hills, California, where Ernest assisted his wife between film projects. When not acting, Ernest actively supported numerous charities and spoke tirelessly at benefits throughout the country. He has been awarded several honorary doctorates from colleges across the United States as well as numerous Lifetime Achievement Awards. In 1996, Ernest purchased a bus and traveled across the United States to see the country and meet his many fans. On December 17, 1999, he presented the University of North Alabama with a collection of scripts from his film and television career, due to his long friendship with North Alabama alumnus and actor George Lindsey (died May 6, 2012), who was an artist in residence at North Alabama.
Ernest Borgnine passed away aged 95 on July 8, 2012, at Cedars-Sinai Medical Center in Los Angeles, California, of renal failure. He is survived by his wife Tova, their children and his younger sister Evelyn (1926-2013)- Actress
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Anna Maria Pierangeli was born June 19, 1932, in Cagliari, Sardinia, Italy. Anna and her twin sister, Marisa Pavan, both had their eyes on becoming film stars, since that was one of the big Italian pastimes. Anna adopted her surname and split it in half, and it was as Pier Angeli that she would find fame. Her first role was an uncredited part in 1948's The Million Dollar Nickel (1952), an Italian production. Pier was 16 at the time and it was to be the first of many roles for this beautiful woman. The film was largely forgettable but it was a start. The following year she played in another Italian production, Tomorrow Is Too Late (1950). Again it was a very small role, and she was not seen on the screen again until 1951. Between 1949 and 1951 she appeared in stage productions and found work in menial jobs. When she did return it was in the film The Light Touch (1951) as Anna Vasarri. Later that year she won the title role in Teresa (1951). However, she again hit a drought with only one film in 1952 and two in 1953. The next year things began to pick up, however, with Hollywood beckoning. After the Italian Miss Nitouche (1954) she caught the eyes of Hollywood moguls, who cast her in Flame and the Flesh (1954) and The Silver Chalice (1954). Now she divided her time between Italy and the US making movies. She married Vic Damone in 1954, a union that lasted only four years and produced one son.
No film offers came in 1955, but in 1956 Pier landed the role of Norma Graziano (wife of fighter Rocky Graziano) in Somebody Up There Likes Me (1956) opposite Paul Newman. The film was well received at the box office and she had hopes that things were going to pick up again. She played Ynez in Port Afrique (1956) later that year and then another drought ensued. After The Vintage (1957), Merry Andrew (1958) and SOS Pacific (1959), she made three more films in 1960. Then once again 1961 saw no appearances. In 1962 Pier played Ildith in Sodom and Gomorrah (1962) and later that year played in a French production entitled White Slave Ship (1961). After the Italian production of Shadow of Evil (1964) she returned in the hit European-American co-production Battle of the Bulge (1965).
After a handful of films between 1966 and 1970, Pier realized her dreams of super-stardom were not to be. She had divorced her second husband (Armando Trovajoli) in 1969 and made her final appearance on the screen in 1971 in the low-budget sci-fi opus Octaman (1971). On September 10th of that year Pier was found dead of a barbiturate overdose in her Beverly Hills home. She was only 39 years old.- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.- Actress
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Lee Remick was born in Quincy, Massachusetts, to Gertrude Margaret (Waldo), an actress, and Francis Edwin Remick, a department store owner. She had Irish and English ancestry. Remick was educated at Barnard College, studied dance and worked on stage and TV, before making her film debut as a sexy Southern majorette in Elia Kazan's A Face in the Crowd (1957). Her next role was also southern: Eula Varner in The Long, Hot Summer (1958). She emerged as a real star in the role of an apparent rape victim in Anatomy of a Murder (1959). And she won an Academy Award nomination for her role as the alcoholic wife of Jack Lemmon in Days of Wine and Roses (1962). After more work in TV and movies, she moved to England in 1970, making more movies there. In 1988 she formed a production company with partners James Garner and Peter K. Duchow.- Franciosa was born Anthony Papaleo on October 25, 1928, in New York City. The son of a construction worker and seamstress who divorced when he was a year old, he seldom saw his father after this and never man really got to know the other. After graduating high school, during a visit to a YMCA to take a free dance lesson, Franciosa came across an audition for a play. Intrigued, he auditioned and was offered a part.
Franciosa began acting professionally, taking his mother's maiden name as his stage name, and had his breakthrough in Calder Willingham's play "End as a Man" (1955), which opened off-Broadway at the Theatre de Lys on September 15, 1953 and transferred to Broadway on October 14 after 32 performances. It was directed by Jack Garfein and co-starred Ben Gazzara (who won a Theatre World Award and would appear in the movie version), both of whom were associated with the Actors Studio, as was Franciosa. His first wife, Beatrice Bakalyar, was a writer.
In 1955, he first appeared in the role that would make him famous: "Polo Pope", the brother of a heroin addict, in an Actors Studio workshop production of Michael V. Gazzo's A Hatful of Rain (1957). The production later moved to Broadway, where Franciosa earned an Outer Critics Circle Award and a Tony Award nomination. Hollywood beckoned, and he made his film debut in Robert Wise's This Could Be the Night (1957) with Paul Douglas and Jean Simmons.
He appeared in Actors Studio co-founder Elia Kazan's A Face in the Crowd (1957) before reprising the role of "Polo Pope" in Fred Zinnemann's A Hatful of Rain (1957). Franciosa won an Academy Award nomination for Best Actor in 1958 for "Hatful" and, with his good looks, was a very hot commodity in Hollywood. He followed up his strong debut by starring in a variety of top A-list films, including George Cukor's Wild Is the Wind (1957), Martin Ritt's The Long, Hot Summer (1958) and The Naked Maja (1958), in which he played painter Francisco Jose de Goya, opposite Ava Gardner.
Franciosa's career began to run out of momentum almost as quickly as it had started, as he rapidly developed a reputation as a combative personality, earning him a reputation as "difficult". Although he starred in George Roy Hill's adaptation of Tennessee Williams' Period of Adjustment (1962), by 1964 he was reduced to appearing in a TV series, Valentine's Day (1964), which lasted a single season. In 1968 he was cast as one of three alternating leads in the television series The Name of the Game (1968), a spin-off from the 1966 TV movie Fame Is the Name of the Game (1966) (the first TV-movie ever made as a pilot for a TV series that was subsequently picked up as a series). Although the show was popular with audiences, Franciosa was fired after appearing in the first two seasons; NBC justified giving him the sack because the actor's mercurial temper was causing too many problems on the set. Looking back at his career in a 1996 interview, Franciosa acknowledged that he was too inexperienced to handle sudden stardom. "It was an incredible amount of attention, and I wasn't quite mature enough psychologically and emotionally for it".
He starred in the series Matt Helm (1975), which only lasted one season, but his talent and charm meant he was in demand throughout the five decades of his career, though not in the kinds of roles that characterized the first two decades of his star period. He continued to act in supporting roles in movies and starring roles in TV movies and series until he retired in 1996. He appeared in one last project, "Manifest Mysteries: Coronation" (2006), shortly before his death on January 19, 2006 in Los Angeles, at the age of 77, five days after that of his ex-wife, actress Shelley Winters. - The epitome of poise, charm, style and grace, beautiful brunette Barbara Rush was born in Denver, Colorado in 1927 and enrolled at the University of California before working with the University Players and taking acting classes at the Pasadena Playhouse. It didn't take long for talent scouts to spot her and, following a play performance, Paramount quickly signed her up in 1950, making her debut with The Goldbergs (1950).
Just prior to this, she had met fellow actor Jeffrey Hunter, a handsome newcomer who would later become a "beefcake" bobbysoxer idol over at Fox. The two fell in love and married in December 1950. Soon, they were on their way to becoming one of Hollywood's most beautiful and photogenic young couples. Their son Christopher was born in 1952.
While at Paramount, she was decorative in such assembly-line fare as When Worlds Collide (1951), Quebec (1951) and Flaming Feather (1952). She later co-starred opposite some of Hollywood's top leading males: James Mason, Montgomery Clift, Marlon Brando, Dean Martin, Paul Newman, Richard Burton and Kirk Douglas. In most cases, she played brittle wives, conniving "other women" or socialite girlfriend types.
Despite the "A" list movies Barbara was piling up, the one single role that could put her over the top never showed its face. By the early 1960s, her film career started to decline. She married publicist Warren Cowan in 1959 and bore a second child, Claudia Cowan, in 1964. TV became a viable source of income for her, appearing in scores of guest parts on the more popular shows of the time while co-starring in standard mini-movie dramas.
She even had a bit of fun playing a "guest villainess" on the Batman (1966) series as temptress "Nora Clavicle". The stage also became a strong focus for Barbara, earning the Sarah Siddons Award for her starring role in "Forty Carats". She made her Broadway debut in the one-woman showcase "A Woman of Independent Means", which also subsequently earned her the Los Angeles Drama Critics Award during its tour. Other showcases included "Private Lives", "Same Time, Next Year", "The Night of the Iguana" and "Steel Magnolias". Rush continued to occasionally appear onscreen, most recently in a recurring role on TV's 7th Heaven (1996). She died on March 31, 2024, aged 97. - Actress
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Statuesque, smart Canadian-born Alexis Smith, with her blue/green eyes and a seductively husky voice, lent a touch of class to her leading ladies of the 1940s and 1950s.
After her family moved to California, Alexis grew into a precocious talent and performed ballet in public by the age of thirteen -- dancing to 'Carmen' at the Hollywood Bowl. She later graduated with a degree in drama from Los Angeles City College having previously won an acting contest whilst still in high school. During a performance of a play on campus she was spotted by a Warner Brothers talent scout and signed to a contract in 1941. Until the early 1950s she was paired with the top male stars in Hollywood, including Clark Gable, Humphrey Bogart, William Holden and Bing Crosby. While often simply decorative (as, for example, in Of Human Bondage (1946) and Stallion Road (1947)), stylishly attired by costume designers like Milo Anderson and Helen Rose in the most glamorous gowns, Alexis also proved to be a capable and spirited actress in spite of relatively few opportunities to break out of the mold of "the other woman".
Early on in her screen career the studio's publicity department touted Alexis -- much to her chagrin -- as the "Dynamite Girl". While she claimed in later years to have typecast herself (saying that few of her assigned roles ever challenged her on any level) Alexis nonetheless enjoyed good critical reviews for many of her performances. She was also popular with directors and film crews who appreciated her relaxed, professional manner on the set. Commencing her Hollywood tenure, she was cast in two films with Errol Flynn (she would make a total of four films with him): Dive Bomber (1941) and the boxing drama Gentleman Jim (1942). Though decidedly second fiddle to both the action and the charismatic Flynn, Alexis made a good first impression as the fetching romantic interest. Her next performance, in The Constant Nymph (1943) opposite Charles Boyer, was described by a reviewer as an "intelligent rendition". Her biggest hit of the mid-1940s was as Cole Porter's wife in the inaccurate--but hugely successful--biopic Night and Day (1946). She also appeared in two "noir" films with Humphrey Bogart at his most menacing: the interesting and underrated Conflict (1945) and the excellent The Two Mrs. Carrolls (1947). As Clark Gable's wife in the gambling drama Any Number Can Play (1949) she was critically lauded as "genuinely appealing". In between, there were also some conspicuous failures, in particular her rather stolid performance in the period drama The Woman in White (1948). She had little to do in Here Comes the Groom (1951) and The Turning Point (1952) and her best part in the 1950s, though small, was that of Carol Wharton in The Young Philadelphians (1959).
During the 1960s, Alexis took a sabbatical from the screen to appear on stage with her husband, actor Craig Stevens (her marriage, a rare Hollywood success, lasted 49 years) in "Critic's Choice", "Cactus Flower" and "Mary, Mary". She reserved her best acting for the stage, becoming the Tony Award-winning star of Stephen Sondheim's musical "Follies" in which she played Phyllis during the 1971 run on Broadway (which landed her on the cover of the May 3 issue of 'Time' Magazine) and at the Shubert Theatre in Los Angeles in 1972. In 1973, she played Sylvia Fowler in a revival of Clare Boothe Luce's "The Women" and was nominated for another Tony for her leading role of Lila Halliday in "Platinum" in 1979.
Alexis was seen infrequently on television from the mid-'50s, sometimes appearing on the same show opposite her husband. She had a recurring role as the homicidal Lady Jessica Montfort in Dallas (1978) during the 1984 and 1990 seasons and was nominated for an Emmy for a guest-starring role on Cheers (1982). It was fitting, or perhaps ironic, that her last film role in The Age of Innocence (1993) was as a New York socialite, the kind of stereotypical persona she had portrayed so often in her heyday at Warners.- Actress
- Producer
- Additional Crew
Barbara Eden, born Barbara Jean Morehead in Tucson, Arizona, became one of America's most endearing and enduring actresses. A graduate of Abraham Lincoln High School in San Francisco, California, Eden would go on to study at San Francisco's City College as well as the San Francisco Conservatory of Music and the Elizabeth Holloway School of Theatre. While her aspirations as a singer motivated her during her early years for a career in music, it was her starring role in the NBC TV comedy series, I Dream of Jeannie (1965) where Barbara Eden immediately gained international acclaim.
Although most remembered for her role as "Jeannie", Barbara Eden has starred in more than 20 theatrical feature films and made-for-television films for at least four different movie studios: 20th Century Fox, Metro-Goldwyn-Mayer, Columbia Studios, and Universal Studios, most notably in the film Flaming Star (1960), when she acted as Elvis Presley's leading lady. Other films in which Barbara Eden had a leading role were Voyage to the Bottom of the Sea (1961), The Wonderful World of the Brothers Grimm (1962), Five Weeks in a Balloon (1962), 7 Faces of Dr. Lao (1964) and The Brass Bottle (1964). The Brass Bottle comedy movie led to Sidney Sheldon's creation of I Dream of Jeannie (1965) comical TV series.
In television, Eden made her first featured appearance on Country Club Dance (1957), as the series was nearing cancellation (there were just two more episodes). Eden immediately landed a starring role in the television version of How to Marry a Millionaire (1957), where she portrayed the same character role originated by Marilyn Monroe. Another memorable appearance came on The Manicurist (1962), featuring her in the character role, special guest-star, as well as her occupation being titled.
In 1965, Barbara Eden was cast the leading role in Sidney Sheldon's NBC sitcom, I Dream of Jeannie (1965). It televised weekly, for five successful and humorous seasons with 139 episodes. After "Jeannie," Barbara Eden went on to star in many other comical and family productions including Harper Valley P.T.A. (1978) and Chattanooga Choo Choo (1984) among other numerous highly rated made-for-television movies well into the 1990s. She has also acted in multiple western series and thrillers.
Outside of her film and television works, Barbara Eden headlined major hotel resorts and casinos including Lake Tahoe, Atlantic City and Las Vegas. She also was the star attraction at the MGM Grand, Harrah's, Caesar's Palace and on concert stages and legitimate theaters across the country.
Utilizing her singing ability, Eden released an album titled "Miss Barbara Eden" in 1967, for record company, Dot Records. She has also been a musical guest star in a wide range of variety television shows. Eden's appearances included 21 Bob Hope special shows, along with The Carol Burnett Show (1967), The Jonathan Winters Show (1967), The Sonny and Cher Show (1976), The Jerry Lewis Show (1963), This Is Tom Jones (1969), Tony Orlando and Dawn (1974), and Donny and Marie (1975).
During the Persian Gulf War, she traveled with Bob Hope to the middle-east to perform for the combat troops and then continued on with Hope in a whirlwind eight-day, around-the-world USO tour entertaining servicemen during the Christmas season.
To celebrate the 2002 Yuletide season, she responded to an invitation from President George Bush; Barbara journeyed to Washington D.C. and sang "Have Yourself a Merry Little Christmas" at the annual White House "Lighting of the National Christmas Tree" event where she also hosted the show and pageant with President and Mrs. Bush for an audience of 6,000 cheering fans on the Ellipse near the White House.
A multi-talent, Eden starred in the national touring musicals The Sound of Music (1965) and Gentlemen Prefer Blondes (1998). In the latter production, she played Lorelei Lee, the character created on Broadway by Carol Channing and performed by Marilyn Monroe in the 20th Century Fox film version. Eden also toured vastly in various stage productions like Neil Simon's Last of the Red Hot Lovers (1972), The Best Little Whorehouse in Texas (1982), Annie Get Your Gun (1967), Wild Pacific (2009) and Nite Club Confidential (1996). In the play "Love Letters," Eden reunited with her I Dream of Jeannie (1965) co-star, Larry Hagman. The duo toured metropolitan and major cities, across the United States. Eden starred in Neil Simon's "The Odd Couple: Female Version", and "Social Security" (1985). She has also been seen in TV series like, All Star Blitz (1985), Entertainment Tonight (1981) and Larry King Live (1985).
In 2011, Crown Archetype, a division of Random House, published Barbara's memoir, "Jeannie Out of the Bottle," which debuted at number 14 on the New York Times Best Seller List and on Australia's Best Seller List, published there by Harper-Collins, Inc. The autobiography chronicle's Eden's colorful life and remarkable Hollywood career that spans more than 50 years.
One of Hollywood's busiest actresses, Barbara filmed a starring role in Always and Forever (2009), a movie filmed by and for the Hallmark Channel. The move was televised numerous times during the year it was filmed and released. On the road, she hosted productions of Ballets with a Twist (1996), the new groundbreaking show that stars rotating celebrity emcees and dancers from Dancing with the Stars (2010). Barbara Eden has appeared recently in a recurring role on Lifetime's Army Wives (2007) series, guest-starred on ABC's George Lopez (2002), and enacted a recurring role on Sabrina the Teenage Witch (1996). During her long career, Barbara has starred in 25 feature films, five network TV series and 19 top-rated network made-for-television movies.
Barbara has been featured in TV commercials for Old Navy, AT&T, and she introduced the Lexus SUV, which was later named Car of the Year by Motor Trend Magazine.
People Magazine named Barbara "One of America's 200 Greatest Pop Icons of the 20th Century." She has been honored with a star on the Hollywood Walk of Fame at 7003 Hollywood Boulevard near the front of the world famous Grauman's Chinese Theatre. She was named one of TV Guide's Most Popular Comedy Stars and has received Lifetime Achievement Awards from the Broadcasters Hall of Fame, The Hollywood Chamber of Commerce, and the TV Land Television Network.
When there is time in her crowded schedule, Eden works actively on behalf of numerous charities including The Trail of Painted Ponies Breast Cancer Research, American Cancer Society, the Wellness Community, the Make-A-Wish Foundation, the March of Dimes, the American Heart Association, Save the Children and Childhelp USA.
Barbara Eden resides with her architect/real estate developer husband Jon Eicholtz in the Benedict Canyon area of Beverly Hills.- Actress
- Soundtrack
Patricia Neal, the Oscar and Tony Award-winning actress, was born Patsy Louise Neal in Packard, Kentucky, where her father managed a coal mine and her mother was the daughter of the town doctor. She grew up in Knoxville, Tennessee, where she attended high school. She was first bit by the acting bug at the age of 10, after attending an evening of monologues at a Methodist church. She subsequently wrote a letter to Santa Claus, telling him, "What I want for Christmas is to study dramatics". She won the Tennessee State Award for dramatic reading while she was in high school.
She apprenticed at the Barter Theater in Abingdon, Virginia, when she was 16-years-old, between her junior and senior years in high school. After studying drama for two years at Northwestern University, she headed to New York City and landed the job as an understudy in The Voice of the Turtle (1947). It was the producer of the play that had her change her name from Patsy Louise to Patricia. After replacing Vivian Vance in the touring company of "Turtle", she won a role in a play that closed in Boston and then appeared in summer stock. She won the role of the teenage "Regina" in Lillian Hellman's play, Another Part of the Forest (1948), for which she won a Tony Award in 1947. Subsequently, she signed a seven-year contract with Warner Bros.
In the first part of her film career, her most impressive roles were in The Fountainhead (1949), opposite Gary Cooper, with whom she had three-year-long love affair, and in director Robert Wise's sci-fi classic, The Day the Earth Stood Still (1951), which she made at 20th Century-Fox. Warners hadn't been thrilled with her and let her go before her contract was up, so she signed with Fox. With her film career stagnating, she returned to Broadway and achieved the success that eluded her in films, appearing in the revival of Hellman's play, The Children's Hour (1961), in 1952. She met and married writer, Roald Dahl, in 1953, and they would have five children in 30 years of marriage.
In 1957, she had one of her finest roles in Elia Kazan's parable about the threat of mass-media demagoguery and home-grown fascism in A Face in the Crowd (1957). Before she had appeared in the movie, Neal had taken over the role of "Maggie" in Tennessee Williams' Cat on a Hot Tin Roof (1958), the Broadway smash that had been directed by Kazan. Returning to the stage, she appeared in the London production of Williams' Suddenly, Last Summer (1959) and co-starred with Anne Bancroft in the Broadway production of The Miracle Worker (1962).
After appearing in Breakfast at Tiffany's (1961), she had what was arguably her finest role, as Alma the housekeeper, in Hud (1963) opposite Paul Newman. The film was a hit and Neal won the Best Actress Oscar. In 1965, she suffered a series of strokes that nearly killed her. She was filming John Ford's film, 7 Women (1965), at the time, and had to be replaced by Anne Bancroft (who would later take a role she turned down, that of "Mrs. Robinson" in The Graduate (1967)). Neal was pregnant at the time.
She underwent a seven-hour operation on her brain and survived, later delivering her fifth child. She underwent rehabilitation supervised by her husband. She had turned down The Graduate (1967) as she had not recovered fully from her stroke. When she returned to the screen, in 1968 in The Subject Was Roses (1968), she suffered from memory problems. According to her director, Ulu Grosbard, "The memory element was the uncertain one. But when we started to shoot, she hit her top level. She really rises to the challenge. She has great range, even more now than before".
She received an Oscar nomination for her work. Subsequently, new acting roles equal to her talent were sparse. She did receive three Emmy nominations, the first for originating the role of "Olivia Walton" in the 1971 TV movie The Homecoming: A Christmas Story (1971), that gave birth to the TV show The Waltons (1972).
Patricia Neal died on August 9, 2010 in Edgarton, Massachusetts from lung cancer. She was 84 years old.- Actress
- Soundtrack
Considered by many to be one of the greatest American actresses of all time, Geraldine Page was a master craftswoman who seemed to bring out the most inner detail of the character she was playing. Her dedication to her craft has earned her the respect of many of today's great actors including Meryl Streep and Michelle Pfeiffer.
Geraldine Sue Page was born on November 22, 1924 in Kirksville, Missouri to Dr. Leon Elwin Page, an osteopathic physician and Pearl Maize Page, a homemaker. She had an older brother named Donald. The family moved to Chicago when Page was five years old. Growing up, her interests and hobbies always were directed toward the arts. She tried writing and painting while younger, but that proved to be too frustrating. She wanted to be a concert pianist, but her family couldn't afford all that training. While she was still a preteen, she joined the drama club at her church and soon found her passion. She began reading all kinds of plays as well as reading about actors. She was fascinated with the careers of actresses like Lucille La Verne, Maude Adams, and Eva Le Gallienne.
Upon graduation from high school in 1942, she entered the Goodman Theater School, where she performed in just about everything in which students could perform, as well as earning money working for a children's theater group. When she completed the three-year program in 1945, she and several other students organized a summer stock theater in Lake Zurich, Illinois. After the summer season, she headed for New York City. Unfortunately, by Christmas she was working three part-time jobs just to get by and not finding any work as an actress. She returned to Chicago that winter and accepted a position as a part-time instructor in the theater department at DePaul University for the spring semester. After another summer at Lake Zurich, Miss Page headed for New York again, this time joining a stock company in Woodstock, New York. She spent the next two summers in Lake Zurich, and the rest of the time performing in Woodstock playing everything from young girls to grandmothers.
In 1948, she made her New York City debut with an Off-Broadway production of "Seven Mirrors." She spent the next four years performing with Off-Broadway groups and summer stock in New Jersey. She also performed character parts on radio shows. In 1952, she had the lead in an Off-Broadway revival of Tennessee Williams' "Summer and Smoke." That production caused a sensation, not only with critics but with a growing audience marking the first big hit Off-Broadway. Page won the Drama Critics Award, becoming the first person from a non-Broadway production to receive such an award.
Page put off a number of film offers and instead played leading roles on radio and television, and made her Broadway debut in January 1953 in Vina Delmar's play "Mid-Summer." Although the play was dismissed by most critics, she was hailed by critics for her portrayal of an uneducated woman married to a schoolteacher.
In the fall of 1953, she made her film debut opposite John Wayne in the western Hondo (1953). Although she received an Academy Award nomination as Best Supporting Actress, she wasn't offered any good parts in Hollywood and returned to New York.
During the 1950s, Page's theater career flourished. She played a variety of roles on Broadway including a vindictive wife of a homosexual in "The Immoralist," to a lonely spinster in "The Rainmaker." She also made frequent radio and television appearances and honed her craft at the Actors Studio. It was in the fall of 1959 that Page starred opposite Paul Newman in Tennessee Williams's "Sweet Bird of Youth." Her role as a pathetic fading movie star earned universal praise, her first Tony Award nomination, and interest again from Hollywood. It was also when she met and married one of her co-stars, actor Rip Torn.
In 1961 she starred in the film version of Summer and Smoke (1961) and in 1962 in Sweet Bird of Youth (1962). She earned consecutive Golden Globe awards as well as Academy Award nominations for these two performances.
From now on, Page divided her time between the stage and the screen. Her selectivity was high, whatever the medium. She turned down many famous roles, including the role of Martha in the original Broadway production of "Who's Afraid of Virginia Woolf" and the role of Chris MacNeil in the film "The Exorcist." She was first and foremost a character actress who believed in repertory. She tended to accept parts that were very different from the one she had just played and often liked to rotate between leading roles and supporting roles.
Despite the fact that she was such a highly respected stage actress, very few of her Broadway productions after "Sweet Bird of Youth" were hits, and often closed after just a few performances. The few productions that were hits included revivals of "Strange Interlude" and "The Three Sisters." Most of her better stage work through the rest of her life came in productions Off-Broadway, or in regional theaters across the country. She liked touring the United States and performing theater in states and cities often neglected by Broadway touring companies. In the 1960s, some of her notable film work included "The Happiest Millionaire," "What Ever Happened to Aunt Alice" and "You're a Big Boy Now." She earned a Best Supporting Actress nomination for the latter. She also won two Emmy Awards for television work.
In the 1970s one of her few hits on Broadway was as a banker's alcoholic wife in "Absurd Person Singular." This role netted her a second Tony Award nomination. One of her bigger triumphs on the stage was the Sanctuary Theater Company which she and her husband Rip Torn founded off-Broadway. Although it only lasted a couple of years, it gave young actors a chance to work, and many of the productions were given rave reviews by critics. Some of her more memorable film roles in the 1970s included a nosy matchmaker in Pete 'n' Tillie (1972) (Oscar nomination as Best Supporting Actress), a controversial religious leader in The Day of the Locust (1975), the voice of the villain Madame Medusa in The Rescuers (1977) and the suicidal mother in Interiors (1978) (Oscar nomination as Best Actress).
In the 1980s, she began teaching acting at the Pelican Theater School. In 1982 she had another triumph on Broadway as Mother Superior in "Agnes of God," a role which earned her a third Tony Award nomination. In 1983 she co-founded the Mirror Repertory Company, an Off-Broadway theater group dedicated to preserving the art of repertory theater. She performed and directed in a variety of productions with the group. She continued to work in films despite her hectic theater schedule. One of her film roles in 1984 was a scene stealing bit part as a chain-smoking mother of a murdered cop in The Pope of Greenwich Village (1984). She received an Oscar nomination as Best Supporting Actress. With that she became the first woman to receive seven Oscar nominations for acting without a single win. In 1985, she starred in the independent film The Trip to Bountiful (1985). Based on Horton Foote's play, it tells the story of a 60-year-old woman who yearns to run away from her cramped city apartment that she shares with her son and daughter-in-law, to see the old country town where she grew up. Page's performance was hailed by critics and she began to rack up a number of award nominations. She was nominated for a Best Actress Oscar, making it her eighth try for the golden boy. Although Meryl Streep looked like a sure bet for Out of Africa (1985), many critics predicted Page would emerge as the dark horse winner. When F. Murray Abraham opened the envelope on Oscar night he announced "Ah! I consider this woman the greatest actress in the English language. The winner is Geraldine Page in 'The Trip to Bountiful!'" As Page scrambled to find her shoes which she had kicked under her seat, Meryl Streep led the long standing ovation for her.
In the 1980s she received a number of other honors. She received several lifetime achievement awards from various theater groups. In 1983, she was inducted into the Theater Hall of Fame. The only thing that seemed to be missing was a Tony Award. In the spring of 1987, Page took a break from the Mirror Theater, to return to Broadway in a revival of "Blithe Spirit." For her leading performance as the wacky medium, she was nominated for her fourth Tony Award. Many critics predicted her to be the sentimental favorite for the award. She did not win. Six days after the Tony Awards ceremony, she died of a heart attack, leaving behind her husband and their three children. She was 62 years old. A memorial service was held at a Broadway theater and numerous actors and celebrities paid their respects including Meryl Streep, Jessica Tandy, and Paul Newman among others. Ronald and Nancy Reagan had flowers sent from the White House to the memorial service.
Page dedicated her life to her craft and is regarded as one of the most important actresses of the 20th century. She appeared in 28 films, 16 Broadway plays, memorable television plays and radio plays, and innumerable repertory, stock, regional and Off-Broadway performances. As People magazine noted: "Geraldine Page wasn't resting on her laurels at the time of her death; she was on a role. After a performance, she asked, 'I wasn't overdone, was I?' Then she added with a smile, 'Wasn't I exquisite?' As ever, she was."- Actress
- Producer
- Soundtrack
Shirley Knight was an American actress who appeared in more than 180 feature films, television movies, television series, and Broadway productions in her career playing leading and character roles.
She was a member of the Actors Studio. Knight was nominated twice for the Academy Award for Best Supporting Actress: for The Dark at the Top of the Stairs (1960) and Sweet Bird of Youth (1962).
In 1976, Knight won a Tony Award for her performance in Kennedy's Children, a play by Robert Patrick. In later years, she played supporting roles in many films, including Endless Love (1981), As Good as It Gets (1997), Divine Secrets of the Ya-Ya Sisterhood (2002), and Grandma's Boy (2006). For her performances on television, Knight was nominated eight times for a Primetime Emmy Award (winning three), and she received a Golden Globe Award.- Actor
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Rip Torn was born Elmore Rual Torn Jr. on February 6, 1931 in Temple, Texas, the son of Thelma Mary (Spacek) and Elmore Rudolph Torn, who was an agriculturalist and economist, credited with popularizing the custom of eating black-eyed peas on New Year's Day. "Rip" is a family name, taken by generations of Torn men and bestowed on Elmore by his father, who was also called "Rip." He was of German, Austrian, Bohemian, and Moravian descent. His mother was an elder sister of actress Sissy Spacek's father, Edwin Spacek.
Torn attended Texas A&M and the University of Texas, where he joined Sigma Chi Fraternity. He majored in animal husbandry. Extremely naïve when he was young, Torn hitchhiked to Hollywood with the idea of becoming a movie star; he wanted to make enough money in order to buy a ranch. Success did not come overnight, as he had hoped, and Torn had to work many odd jobs while occasionally being cast in television roles. He made his feature film debut in Elia Kazan's Baby Doll (1956) in a small part.
Serious about learning his craft, he moved to New York City where he studied under Lee Strasberg at the Actors Studio. Torn also studied dance with Martha Graham. His serious acting career began on the small screen, where he made a name for himself in the Golden Age of Television; between 1957 and 1960, he appeared regularly on such prestigious live shows as Omnibus (1952) and Playhouse 90 (1956).
Torn made his Broadway debut in Kazan's staging of Tennessee Williams' "Sweet Bird of Youth" on March 10, 1959, in support of Paul Newman, Sidney Blackmer and Geraldine Page, who would become his second wife. The play was a hit, closing on January 30, 1960 after 375 performances. He won a 1960 Tony Award nomination as Best Featured Actor in a Play and a Theater World award for his role as "Tom, Jr.", a role he recreated in the 1962 film. (Torn also starred as "Boss Finley" in a later television adaptation of the play).
Torn earned a reputation as an actor's actor on stage, both Broadway and off-Broadway, as well as on screen. He continued to work in the New York theater despite his demanding TV and movie schedule as both an actor and director. He won two Obie awards for his work off-Broadway, for Distinguished Performance in Norman Mailer's "The Deer Park" (for the 1966-67 season), and for Distinguished Direction for "The Beard" (1967-68). He had his own stage company, and directed his daughter Angelica Page (by Geraldine Page) in John Paul Alexander's "Strangers in the Land of Canaan" at the Actors Studio. Torn made his feature film directorial debut with The Telephone (1988).
He was constantly in demand as a character actor, in supporting, second lead and occasional lead roles. Arguably his best performance on film came in Payday (1973), and he was nominated for a best supporting actor Oscar for Cross Creek (1983). Most of Torn's roles were in drama, though he was adept at comedy. His role in Albert Brooks' comedy Defending Your Life (1991) led to his being cast in The Larry Sanders Show (1992), on which he played talk show producer "Artie." Torn won six consecutive Emmy nominations for the role, winning once for Best Supporting Actor in a comedy series in 1996.
Torn was married to actress Ann Wedgeworth from 1956-61, whom he divorced to marry Geraldine Page. They remained married until her death in 1987. He was married to Amy Wright until his death. Torn helped his first cousin, Oscar-winner Sissy Spacek, to make her way as an actress, seeing to it that she was accepted by the Lee Strasberg's Actors Studio and then the Lee Strasberg Institute.
Rip Torn died in on July 9, 2019 in Lakeville, Connecticut, aged 88.- Director
- Actor
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Corey Allen earned a Bachelor of Fine Arts from UCLA in Theatre in 1954. While there, he received the department's Best Actor award and starred in the UCLA film, "A Time Out of War", which won the Academy Award & Cannes & Venice Film Festival for Best Short Film. Upon graduation, he appeared in approximately twenty plays in the Los Angeles area. Director Nicholas Ray spotted Allen and subsequently chose him for the role of "Buzz" in Rebel Without a Cause (1955). This led to featured roles in another dozen films such as Private Property (1960), Party Girl (1958), Darby's Rangers (1958) and The Chapman Report (1962). Allen also appeared in many leading television series including Perry Mason (1957) and Alfred Hitchcock Presents (1955). Meanwhile, he created, directed for and co-produced the Freeway Circuit Theatre which toured the Southwest for six seasons. Allen also directed numerous Equity productions in Los Angeles theatres. This led to a thirty year directorial career in television and film during which he directed three movies including Avalanche; television movies including the Emmy winning The Ann Jillian Story (1988); created a dozen pilots for television series including Star Trek: The Next Generation (1987), Murder, She Wrote (1984), Simon & Simon (1981), Code Name: Foxfire (1985), Stone (1979) and Capitol (1982). He has earned two Directors Guild nominations for Best Direction in a television series, the Award for Cable Excellence for Best Direction of The Paper Chase (1978) and received an Emmy for Best Direction of a Hill Street Blues (1981). Throughout this career, Allen instructed acting, including three years at the Actors Workshop, and for the last nine years, conducted cold reading workshops at the Margie Haber Studio. This year, Allen was presented with an honorary Doctorate of Humane Letters from Columbia College-Holllywood for his work in helping to create their acting and directing curricula.- Actor
- Soundtrack
Brandon De Wilde was born into a theatrical family and made a much-acclaimed Broadway debut in "The Member of the Wedding" at age 9. He was the first child actor to win the Donaldson Award, and went on to repeat his role in the film version, directed by Fred Zinnemann in 1952. As the blond-haired, blue-eyed Joey who idolizes the strange gunman played by Alan Ladd in the film Shane (1953), he stole the picture and received an Oscar nomination for his work. During 1953-54, Brandon starred in his own television series, Jamie (1953), and made his mark as a screen adolescent during the 1960s playing a younger brother in All Fall Down (1962) and nephew in Hud (1963), starring Paul Newman. He managed to keep his career-building into early adulthood, but his career was tragically cut short: en route to visit his wife at a hospital where she had recently undergone surgery, he was killed when the camper-van he was driving struck a parked truck. He was only 30 years old.- Actress
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Julia Elizabeth Wells was born on October 1, 1935, in England. Her mother, Barbara Ward (Morris), and stepfather, both vaudeville performers, discovered her freakish but undeniably lovely four-octave singing voice and immediately got her a singing career. She performed in music halls throughout her childhood and teens, and at age 20, she launched her stage career in a London Palladium production of "Cinderella".
Andrews came to Broadway in 1954 with "The Boy Friend", and became a bona fide star two years later in 1956, in the role of Eliza Doolittle in the unprecedented hit "My Fair Lady". Her star status continued in 1957, when she starred in the TV-production of Cinderella (1957) and through 1960, when she played "Guenevere" in "Camelot".
In 1963, Walt Disney asked Andrews if she would like to star in his upcoming production, a lavish musical fantasy that combined live-action and animation. She agreed on the condition if she didn't get the role of Doolittle in the pending film production of My Fair Lady (1964). After Audrey Hepburn was cast in My Fair Lady, Andrews made an auspicious film debut in Walt Disney's Mary Poppins (1964), which earned her an Academy Award for Best Actress.
Andrews continued to work on Broadway, until the release of The Sound of Music (1965), the highest-grossing movie of its day and one of the highest-grossing of all time. She soon found that audiences identified her only with singing, sugary-sweet nannies and governesses, and were reluctant to accept her in dramatic roles in The Americanization of Emily (1964) and Alfred Hitchcock's thriller Torn Curtain (1966). In addition, the box-office showings of the musicals Julie subsequently made increasingly reflected the negative effects of the musical-film boom that she helped to create. Thoroughly Modern Millie (1967) was for a time the most successful film Universal had released, but it still couldn't compete with Mary Poppins or The Sound of Music for worldwide acclaim and recognition. Star! (1968) and Darling Lili (1970) also bombed at the box office.
Fortunately, Andrews did not let this keep her down. She worked in nightclubs and hosted a TV variety series in the 1970s. In 1979, Andrews returned to the big screen, appearing in films directed by her husband Blake Edwards, with roles that were entirely different from anything she had been seen in before. Andrews starred in 10 (1979), S.O.B. (1981) and Victor/Victoria (1982), which earned her an Oscar nomination for Best Actress in a Leading Role.
She continued acting throughout the 1980s and 1990s in movies and TV, hosting several specials and starring in a short-lived sitcom. In 2001, she starred in The Princess Diaries (2001), alongside then-newcomer Anne Hathaway. The family film was one of the most successful G-Rated films of that year, and Andrews reprised her role as Queen Clarisse Renaldi in The Princess Diaries 2: Royal Engagement (2004). In recent years, Andrews appeared in Tooth Fairy (2010), as well as a number of voice roles in Shrek 2 (2004), Shrek the Third (2007), Enchanted (2007), Shrek Forever After (2010), and Despicable Me (2010).- Actress
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One of the finest classical and contemporary leading ladies ever to grace the 20th century American stage, five-time Tony Award winner Julie Harris was rather remote and reserved on camera, finding her true glow in front of the theatre lights. The freckled, red-haired actress not only was nominated for a whopping total of ten Tony awards and was a Sarah Siddons Award recipient for her work on the Chicago stage, she also earned awards in other areas of the entertainment industry, including three Emmys (of 11 nominations), a Grammy and an Academy Award nomination. (Note: Harris would hold the record for the most competitive Tony performance wins (five) for a couple of decades. Angela Lansbury finally caught up with her in 2009 and singer/actress Audra McDonald surpassed them both in 2014 with six). While Harris certainly lacked the buoyancy and glamor usually associated with being a movie star, she certainly made an impact in the early to mid 1950s with three iconic leading roles, two of which she resurrected from the Broadway stage. After that she pretty much deserted film.
Born Julie Ann Harris on December 2, 1925, in Grosse Pointe, Michigan, she was the daughter of William Pickett, an investment banker, and Elsie L. (née Smith) Harris, a nurse. Graduating from Grosse Pointe Country Day School, an early interest in the performance arts was encouraged by her family. Moving to New York City, Julie attended The Hewitt School and later trained as a teenager at the Perry-Mansfield Performing Arts School & Camp in Colorado. A mentor there, Charlotte Perry, saw great hope for young Julie and was insistent that her protégé study at the Yale School of Drama. Julie did just that -- for about a year.
Also trained at the New York School of Drama and one of the earliest members of the Acting Studio, young Julie made her Broadway debut in 1945 at age 19 in the comedy "It's a Gift". Despite its lukewarm reception, the demure, diminutive (5'3"), and delicate-looking thespian moved on. She apprenticed on Broadway for the next few years with ensemble parts in "King Henry IV, Part II" (1946), "Oedipus Rex" (1946), "The Playboy of the Western World" (1946), "Alice in Wonderland" (as the White Rabbit) (1947), and Macbeth" (1948).
More prominent roles came her way in such short-lived Broadway plays as "Sundown Beach" (1948), "The Young and Fair" (1948), "Magnolia Alley" (1949) and "Montserrat (1949). This led to her star-making theatre role at age 24 as sensitive 12-year-old tomboy Frankie Addams in the classic drama "The Member of the Wedding" (1950) opposite veteran actress Ethel Waters and based on the Carson McCullers novel. The play ran for over a year. The Member of the Wedding (1952) would eventually be transferred to film and, despite being untried talents on film, director Fred Zinnemann wisely included both Harris and young Brandon De Wilde (as young John Henry) to reenact their stage triumphs along with Ms. Waters. Harris, at 27, received her first and only Academy Award nomination as the coming-of-age Georgian tomboy.
It wasn't long before Julie's exceptional range and power won noticed nationwide. In 1952, she received her first "Best Actress" Tony Award for creating the larger-than-life role of Sally Bowles in "I Am a Camera," the stage version of one of Christopher Isherwood's Berlin stories ("Goodbye to Berlin" (1939). (Note: In the 1960s, Isherwood's play would be transformed successfully into the Broadway musical "Cabaret".) Harris again was invited to repeat her stage role in I Am a Camera (1955) with Laurence Harvey and Shelley Winters, winning the BAFTA "Best Foreign Actress" Award. That same year Harris starred opposite the highly emotive James Dean (she had top billing) as his love interest in the classic film East of Eden (1955), directed by Elia Kazan from the John Steinbeck novel. Strangely, Julie's brilliance in the role of Abra was completely overlooked come Oscar time...a terrible miscarriage of justice in this author's view.
After this vivid film exposure, Julie's love for the theatre completely dominated her career focus. She continued to increase her Broadway prestige with such plays as "Mademoiselle Colombe" (title role) (1954), "The Lark" (Tony Award: as Joan of Arc) (1955), "The Country Wife" (1957), "The Warm Peninsula" (1959), "Little Moon Over Alban" (1960) (which she took to Emmy-winning TV), "A Shot in the Dark" (1961), "Ready When Your Are, C.B.!" (1964), "Skyscraper" (1965), "Forty Carats" (Tony Award) (1968), "And Miss Reardon Drinks a Little" ) (1971), "The Au Pair Man" (1973) and "In Praise of Love" (1974). In between she gave stellar performances on TV with her Joan of Arc in The Lark (1957); title role in Johnny Belinda (1958); Nora in Ibsen's A Doll's House (1959); Catherine Sloper in The Heiress (1961); title role in Victoria Regina (1961) (for which received an Emmy award); Eliza Doolittle in Pygmalion (1963), and title role in Anastasia (1967).Be
In later years Harris reaped praises and honors for her awe-inspiring one-woman touring shows based on the lives of certain distaff historical figureheads. Her magnificently tormented, Tony-winning "First Lady" Mary Lincoln in "The Last of Mrs. Lincoln" (1972) was the first to be seen on stage and TV, followed by another Tony (and Grammy) Award-winning performance as poetess Emily Dickinson in "The Belle of Amherst" (1976) (directed by close friend Charles Nelson Reilly, as well as her early 1980s solo portrait of author Charlotte Brontë in "Bronte," which started out as a radio play. Julie was now placed among the theatre's luminous "ruling class" alongside legendary veterans Helen Hayes, Katharine Cornell and Judith Anderson.
As time wore on, Harris would become equally respected on film and TV for her portrayals of over-the-edge neurotics, wallflowers and eccentric maiden aunt types as witnessed by her co-starring roles in the films The Haunting (1963), Hamlet (1964) (as Ophelia), Harper (1966), You're a Big Boy Now (1966), Reflections in a Golden Eye (1967), The Bell Jar (1979), and the TV-movies How Awful About Allan (1970) and Home for the Holidays (1972). Perhaps a step down performance wise, the veteran actress, after a period of ill health, became a household name with her regular series work as Lilimae on the TV soap Knots Landing (1979).
At age 60, Harris continued to impress on Broadway with her 1990's versions of Amanda Wingfield in "The Glass Menagerie" and Fonsia Dorsey in "The Gin Game" for which she received her tenth and final Tony nomination. She also toured successfully with a production of "Lettice and Lovage". Unlike many other actors whose film roles disintegrated with appearances in bottom-of-the-barrel lowbudgets, Julie's final two supporting films roles were in two nicely constructed period romantic comedies -- The Golden Boys (2008) and The Lightkeepers (2009).
Ill health dogged Julie's later years (she battled breast cancer in 1981 and suffered two strokes -- one in 2001 (while performing in the Chicago play "Fossils") and again in 2010). Nevertheless, she continued to work almost until the end, including narrating five historical documentaries and giving Emmy-winning voice to such women suffragettes as Susan B. Anthony and Elizabeth Cady Stanton.
Married and divorced three times, Julie had one son by her second marriage -- Peter, who became a theatre critic. She also spent time enjoying the benefits of receiving special awards and honors for her full body of work. Among these, she was inducted into the American Theatre Hall of Fame in 1979, was awarded the National Medal of Arts in 1994, received a "Special Lifetime Achievement" Tony Award in 2002 and was a 2005 Kennedy Center honoree.
Harris died on August 24, 2013, of congestive heart failure at her home in West Chatham, Massachusetts. She was 87.- Actress
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Janet Leigh was the only child of a couple who often moved from town to town. Living in apartments, Janet was a bright child who skipped several grades and finished high school when she was 15. A lonely child, she would spend much of her time at movie theaters. She was a student, studying music and psychology, at the University of the Pacific until she was "discovered" while visiting her parents in Northern California. Her father was working the desk at a ski resort where her mother worked as a maid. Retired MGM actress Norma Shearer saw a picture of Janet on the front desk and asked if she could borrow it. This led to a screen test at MGM and a starring role in The Romance of Rosy Ridge (1947). MGM was looking for a young naive country girl and Janet filled the bill perfectly. She would play the young ingénue in a number of films and work with such stars as Errol Flynn, Gary Cooper, James Stewart, Orson Welles and Judy Garland. She appeared in a number of successful films, including Little Women (1949), Angels in the Outfield (1951), Scaramouche (1952), Houdini (1953) and The Black Shield of Falworth (1954), among others. Janet would appear in a variety of films, from comedies to westerns to musicals to dramas. Of her more than 50 movies, she would be remembered for the 45 minutes that she was on the screen in the small-budget thriller Psycho (1960). Directed by Alfred Hitchcock, this 1960 classic would include the shower scene that would become a film landmark. Even though her character is killed off early in the picture, she would be nominated for an Academy Award and receive a Golden Globe. Her next film would be The Manchurian Candidate (1962), in which she starred with Frank Sinatra. For the rest of the decade, her appearances in films would be rare, but she worked with Paul Newman in Harper (1966). In the 1970s she appeared on the small screen in a number of made-for-TV movies. In 1980, she appeared alongside her daughter Jamie Lee Curtis in The Fog (1980), and later, in Halloween H20: 20 Years Later (1998). Janet Leigh died at age 77 in her home in Beverly Hills, California on October 3, 2004.- Actor
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R.J. Wagner was born 1930 in Detroit, the son of a steel executive. His family moved to L.A. when he was six. Always wanting to be an actor, he held a variety of jobs (including one as a golf caddy for Clark Gable) while pursuing his goal, but it was while dining with his parents at a Beverly Hills restaurant that he was discovered by a talent scout. After making his uncredited screen debut in The Happy Years (1950), Wagner was signed by 20th Century Fox, which carefully built him up toward stardom. He played romantic leads with ease, but it was not until he essayed the two-scene role of a shell-shocked war veteran in With a Song in My Heart (1952) that studio executives recognized his potential as a dramatic actor. He went on to play the title roles in Prince Valiant (1954) and The True Story of Jesse James (1957), and portrayed a cold-blooded murderer in A Kiss Before Dying (1956). In the mid-'60s, however, his film career skidded to a stop after The Pink Panther (1963). Several years of unemployment followed before Wagner made a respectable transition to television as star of the lighthearted espionage series It Takes a Thief (1968). He also starred on the police series Switch (1975), but Wagner's greatest success was opposite Stefanie Powers on the internationally popular Hart to Hart (1979), which ran from 1979 through 1984 and has since been sporadically revived in TV-movie form (another series, Lime Street (1985), was quickly canceled due to the tragic death of Wagner's young co-star, Samantha Smith). Considered one of Hollywood's nicest citizens, Robert Wagner has continued to successfully pursue a leading man career; he has also launched a latter-day stage career, touring with Stefanie Powers in the readers' theater presentation "Love Letters". He found success playing Number Two, a henchman to Dr. Evil in Austin Powers: International Man of Mystery (1997) and its sequels, and in 2007, he began playing Teddy Leopold, a recurring role on the CBS sitcom Two and a Half Men (2003). Wagner is married to Jill St. John and lives in Aspen.- Actor
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Tony Curtis was born Bernard Schwartz, the eldest of three children of Helen (Klein) and Emanuel Schwartz, Jewish immigrants from Hungary. Curtis himself admits that while he had almost no formal education, he was a student of the "school of hard knocks" and learned from a young age that the only person who ever had his back was himself, so he learned how to take care of both himself and younger brother, Julius. Curtis grew up in poverty, as his father, Emanuel, who worked as a tailor, had the sole responsibility of providing for his entire family on his meager income. This led to constant bickering between Curtis's parents over money, and Curtis began to go to movies as a way of briefly escaping the constant worries of poverty and other family problems. The financial strain of raising two children on a meager income became so tough that in 1935, Curtis's parents decided that their children would have a better life under the care of the state and briefly had Tony and his brother admitted to an orphanage. During this lonely time, the only companion Curtis had was his brother, Julius, and the two became inseparable as they struggled to get used to this new way of life. Weeks later, Curtis's parents came back to reclaim custody of Tony and his brother, but by then Curtis had learned one of life's toughest lessons: the only person you can count on is yourself.
In 1938, shortly before Tony's Bar Mitzvah, tragedy struck when Tony lost the person most important to him when his brother, Julius, was hit by a truck and killed. After that tragedy, Curtis's parents became convinced that a formal education was the best way Tony could avoid the same never-knowing-where-your-next-meal-is-coming-from life that they had known. However, Tony rejected this because he felt that learning about literary classics and algebra wasn't going to advance him in life as much as some real hands-on life experience would. He was to find that real-life experience a few years later, when he enlisted in the navy in 1942. Tony spent over two years getting that life experience doing everything from working as a crewman on a submarine tender, the USS Proteus (AS-19), to honing his future craft as an actor performing as a sailor in a stage play at the Navy Signalman School in Illinois.
In 1945, Curtis was honorably discharged from the navy, and when he realized that the GI Bill would allow him to go to acting school without paying for it, he now saw that his lifelong pipe dream of being an actor might actually be achievable. Curtis auditioned for the New York Dramatic Workshop, and after being accepted on the strength of his audition piece (a scene from "Dr. Jekyll and Mr. Hyde" in pantomime), Curtis enrolled in early 1947. He then began to pay his dues by appearing in a slew of stage productions, including "Twelfth Night" and "Golden Boy". He then connected with a small theatrical agent named Joyce Selznick, who was the niece of film producer David O. Selznick. After seeing his potential, Selznick arranged an interview for Curtis to see David O. Selznick at Universal Studios, where Curtis was offered a seven-year contract. After changing his name to what he saw as an elegant, mysterious moniker--"Tony Curtis" (named after the novel Anthony Adverse (1936) by Hervey Allen and a cousin of his named Janush Kertiz)--Curtis began making a name for himself by appearing in small, offbeat roles in small-budget productions. His first notable performance was a two-minute role in Criss Cross (1949), with Burt Lancaster, in which he makes Lancaster jealous by dancing with Yvonne De Carlo. This offbeat role resulted in Curtis's being typecast as a heavy for the next few years, such as playing a gang member in City Across the River (1949).
Curtis continued to build up a show reel by accepting any paying job, acting in a number of bit-part roles for the next few years. It wasn't until late 1949 that he finally got the chance to demonstrate his acting flair, when he was cast in an important role in an action western, Sierra (1950). On the strength of his performance in that movie, Curtis was finally cast in a big-budget movie, Winchester '73 (1950). While he appears in that movie only very briefly, it was a chance for him to act alongside a Hollywood legend, James Stewart.
As his career developed, Curtis wanted to act in movies that had social relevance, ones that would challenge audiences, so he began to appear in such movies as Spartacus (1960) and The Defiant Ones (1958). He was advised against appearing as the subordinate sidekick in Spartacus (1960), playing second fiddle to the equally famous Kirk Douglas. However, Curtis saw no problem with this because the two had recently acted together in dual leading roles in The Vikings (1958).- 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.- Actress
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Marilyn Monroe was an American actress, comedienne, singer, and model. Monroe is of English, Irish, Scottish and Welsh descent. She became one of the world's most enduring iconic figures and is remembered both for her winsome embodiment of the Hollywood sex symbol and her tragic personal and professional struggles within the film industry. Her life and death are still the subjects of much controversy and speculation.
She was born Norma Jeane Mortenson at the Los Angeles County Hospital on June 1, 1926. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Because Gladys was mentally and financially unable to care for young Marilyn, Gladys placed her in the care of a foster family, The Bolenders. Although the Bolender family wanted to adopt Marilyn, Gladys was eventually able to stabilize her lifestyle and took Marilyn back in her care when Marilyn was 7 years old. However, shortly after regaining custody of Marilyn, Gladys had a complete mental breakdown and was diagnosed as a paranoid schizophrenic and was committed to a state mental hospital. Gladys spent the rest of her life going in and out of hospitals and rarely had contact with young Marilyn. Once Marilyn became an adult and celebrated as a film star, she paid a woman by the name of Inez Melson to look in on the institutionalized Gladys and give detailed reports of her progress. Gladys outlived her daughter, dying in 1984.
Marilyn was then taken in by Gladys' best friend Grace Goddard, who, after a series of foster homes, placed Marilyn into the Los Angeles Orphan's Home in 1935. Marilyn was traumatized by her experience there despite the Orphan's Home being an adequate living facility. Grace Goddard eventually took Marilyn back to live with her in 1937 although this stay did not last long as Grace's husband began molesting Marilyn. Marilyn went to live with Grace's Aunt Ana after this incident, although due to Aunt Ana's advanced age she could not care properly for Marilyn. Marilyn once again for the third time had to return to live with the Goddards. The Goddards planned to relocated and according to law, could not take Marilyn with them. She only had two choices: return to the orphanage or get married. Marilyn was only 16 years old.
She decided to marry a neighborhood friend named James Dougherty; he went into the military, she modeled, they divorced in 1946. She owned 400 books (including Tolstoy, Whitman, Milton), listened to Beethoven records, studied acting at the Actors' lab in Hollywood, and took literature courses at UCLA downtown. 20th Century Fox gave her a contract but let it lapse a year later. In 1948, Columbia gave her a six-month contract, turned her over to coach Natasha Lytess and featured her in the B movie Ladies of the Chorus (1948) in which she sang three numbers : "Every Baby Needs a Da Da Daddy", "Anyone Can Tell I Love You" and "The Ladies of the Chorus" with Adele Jergens (dubbed by Virginia Rees) and others. Joseph L. Mankiewicz saw her in a small part in The Asphalt Jungle (1950) and put her in All About Eve (1950) , resulting in 20th Century re-signing her to a seven-year contract. Niagara (1953) and Gentlemen Prefer Blondes (1953) launched her as a sex symbol superstar.
When she went to a supper honoring her in the The Seven Year Itch (1955) , she arrived in a red chiffon gown borrowed from the studio (she had never owned a gown). That same year, she married and divorced baseball great Joe DiMaggio (their wedding night was spent in Paso Robles, California). After The Seven Year Itch (1955) , she wanted serious acting to replace the sexpot image and went to New York's Actors Studio. She worked with director Lee Strasberg and also underwent psychoanalysis to learn more about herself. Critics praised her transformation in Bus Stop (1956) and the press was stunned by her marriage to playwright Arthur Miller . True to form, she had no veil to match her beige wedding dress so she dyed one in coffee; he wore one of the two suits he owned. They went to England that fall where she made The Prince and the Showgirl (1957) with Laurence Olivier , fighting with him and falling further prey to alcohol and pills. Two miscarriages and gynecological surgery followed. So had an affair with Yves Montand . Work on her last picture The Misfits (1961) , written for her by departing husband Miller, was interrupted by exhaustion. She was dropped from the unfinished Something's Got to Give (1962) due to chronic lateness and drug dependency.
On August 4, 1962, Marilyn Monroe's day began with threatening phone calls. Dr. Ralph Greenson, Marilyn's physician, came over the following day and quoted later in a document "Felt it was possible that Marilyn had felt rejected by some of the people she had been close to." Apart from being upset that her publicist slept too long, she seemed fine. Pat Newcombe, who had stayed the previous night at Marilyn's house, left in the early evening as did Greenson who had a dinner date. Marilyn was upset he couldn't stay, and around 7:30pm she telephoned him to say that her second husband's son had called her. Peter Lawford also called Marilyn, inviting her to dinner, but she declined. Lawford later said her speech was slurred. As the evening went on there were other phone calls, including one from Jose Belanos, who said he thought she sounded fine. According to the funeral directors, Marilyn died sometime between 9:30pm and 11:30pm. Her maid unable to raise her but seeing a light under her locked door, called the police shortly after midnight. She also phoned Ralph Greenson who, on arrival, could not break down the bedroom door. He eventually broke in through French windows and found Marilyn dead in bed. The coroner stated she had died from acute barbiturate poisoning, and it was a 'probable suicide' though many conspiracies would follow in the years after her death.- Actor
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American character actor who achieved considerable fame in the last decade of his life. A native of Kokomo, Indiana, Strother Martin Jr. was the youngest of three children of Strother Douglas Martin, a machinist, and Ethel Dunlap Martin. His family moved soon after his birth to San Antonio, Texas, but quickly returned to Indiana. Strother Jr. grew up in Indianapolis and in Cloverdale, Indiana. He excelled at swimming and diving, and at 17 won the National Junior Springboard Diving Championship. He attended the University of Michigan as diving team member. He served in the U.S. Navy as a swimming instructor in World War II. Nicknamed "T-Bone" Martin for his diving style, his 3rd place finish in the adult National Springboard Diving Championships cost him a place on the 1948 Olympic team. He moved to California to become an actor, but worked in odd jobs and as a swimming instructor to Marion Davies and the children of Charles Chaplin. He found work as a swimming extra in several films and as a leprechaun on a local children's TV show, "Mabel's Fables." Bit parts came his way, leading to television work with Sam Peckinpah, which led to a lifelong relationship. He also found memorable roles for John Ford and by the 1960s was a familiar face in American movies. With Cool Hand Luke (1967) in 1967 came new acclaim and a place among the busiest character actors in Hollywood. He worked steadily and in substantial roles throughout the 1970s and seemed at the peak of his career when he died suddenly of a heart attack in 1980.- Martin Henry Balsam was born on November 4, 1919 in the Bronx, New York City, to Lillian (Weinstein) and Albert Balsam, a manufacturer of women's sportswear. He was the first-born child. His father was a Russian Jewish immigrant, and his mother was born in New York, to Russian Jewish parents. Martin caught the acting bug in high school where he participated in the drama club. After high school, he continued his interest in acting by attending Manhattan's progressive New School. When World War II broke out, Martin was called to service in his early twenties. After the war, he was lucky to secure a position as an usher at Radio City Music Hall in New York City. By 1947, he was honing his craft at the Actors Studio, run at that time by Elia Kazan and Lee Strasberg. His time at the Actors Studio in New York City allowed him training in the famous Stanislavsky method. Despite his excellent training, he had to prove himself, just like any up and coming young actor. He began on Broadway in the late 1940s. But, it was not until 1951 that he experienced real success. That play was Tennessee Williams' "The Rose Tattoo". After his Broadway success, he had a few minor television roles before his big break arrived when he joined the cast of On the Waterfront (1954). In the 1950s, Martin had many television roles. He had recurring roles on some of the most popular television series of that time, including The United States Steel Hour (1953), The Philco Television Playhouse (1948), Goodyear Playhouse (1951) and Studio One (1948). In 1957, he was able to prove himself on the big-screen once again, with a prominent role in 12 Angry Men (1957), directed by Sidney Lumet and starring Henry Fonda. All of Martin's television work in the 1950s did not go to waste. While starring on an episode of Alfred Hitchcock Presents (1955), Hitchcock was so impressed by his work, that he offered him a key supporting role of Detective Milton Arbogast in Psycho (1960). His work with Hitchcock opened him up to a world of other acting opportunities. Many strong movie roles came his way in the 1960s, including parts in Breakfast at Tiffany's (1961), Cape Fear (1962) and The Carpetbaggers (1964). One of the proudest moments in his life was when he received an Academy Award for Best Supporting Actor for A Thousand Clowns (1965). It was soon after that he began accepting roles in European movies. He soon developed a love for Italy, and lived there most of his remaining years. He acted in over a dozen Italian movies and spent his later life traveling between Hollywood and Europe for his many roles. After a career that spanned more than fifty years, Martin Balsam died of natural causes in his beloved Italy at age 76. He passed away of a stroke at a hotel in Rome called Residenza di Repetta. He was survived by his third wife Irene Miller and three children, Adam, Zoe and Talia.
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Cameron Mitchell was the son of a minister, but chose a different path from his father. Prior to World War II, in which he served as an Air Force bombardier, Mitchell appeared on Broadway, and, in 1940, an experimental television broadcast, "The Passing of the Third Floor Back". He made his film debut in What Next, Corporal Hargrove? (1945), but continued with stage as well as film work. He gained early recognition for his portrayal of Happy in the stage and screen versions of "Death of a Salesman". Still, out of more than 300 film and TV appearances, he is probably best remembered for his work on The High Chaparral (1967) TV series in which he, as the happy-go-lucky Buck Cannon, and Henry Darrow, as Manolito Montoya, stole the show.- Actor
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Richard Allen Boone was born in Los Angeles, California, to Cecile Lillian (Beckerman) and Kirk Etna Boone, a wealthy corporate lawyer. His maternal grandparents were Russian Jewish immigrants, while his father was descended from a brother of frontiersmen Daniel Boone and Squire Boone.
Richard was a college student, boxer, painter and oil-field laborer before ending up in the U.S. Navy during World War II. After the war he used the G.I. Bill to study acting with the Actor's Studio in New York. Serious and methodical, Boone debuted on Broadway in the play "Medea". Other plays followed, as did occasional TV work. In 1950 20th Century-Fox signed him to a contract and he made his screen debut in Halls of Montezuma (1951), playing a Marine Corps officer. Tall and craggy, Boone was continually cast in a number of war and western movies. He also tackled roles such as Pontius Pilate in The Robe (1953) and a police detective in Vicki (1953). In 1954 he was cast as Dr. Konrad Styner in the pioneering medical series Medic (1954), which was a critical but not a ratings success. This role lasted for two years, though in the meantime, he continued to appear in westerns and war movies.
In 1957 he played Dr. Wright, who treats Elizabeth for her memory lapses, in Lizzie (1957). It was also in that year that Boone was cast in what is his best-known role, the cultured gunfighter Paladin in the highly regarded western series Have Gun - Will Travel (1957). Although a gun for hire, Paladin was usually a moral one, did the job and lived at the Hotel Carlton in San Francisco. Immensely popular, the show made Boone a star. The series lasted six years, and in addition to starring in it, Boone also directed some episodes. He still kept busy on the big screen during the series' run, appearing as Sam Houston in the John Wayne epic The Alamo (1960), and as a weary cavalry captain fighting Indians in A Thunder of Drums (1961). After Have Gun - Will Travel (1957) ended in 1963, Boone hosted a dramatic anthology series, The Richard Boone Show (1963), but it was not successful.
Boone moved to Hawaii for the next seven years. During this time he made a few Westerns, including the muscular Rio Conchos (1964), but he was largely absent from the screen. In the 1970s he moved to Florida, and resumed his film and TV career with a vengeance. In 1972 he again appeared on television in the Jack Webb-produced series Hec Ramsey (1972) (years before he had played a police captain in Webb's first "Dragnet" film, Dragnet (1954)). Based on a real man, Hec was a tough, grizzled old frontier sheriff at the turn of the 20th century who, late in life, has studied the newest scientific theories of crime detection. His new boss, a much younger man, doesn't always approve of Hec, his nonconformist style or his new methods. The series lasted for two years. Boone continued working until the end of the decade but died as a result of throat cancer in 1981.- Actor
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Russ wasn't discovered, he discovered show business at the age of 5 when, with other youngsters at Inglewood, California, he went to Saturday matinees at the Granada Theatre. One afternoon while waiting for the show to start he got on the stage and did an impromptu dance which the kids loved. He repeated it the following week and became so popular that when he didn't appear there was almost a riot. The theater manager spoke to his parents and his mother let him take dancing lessons. Once started on a career he expanded his talents to take in singing and acrobatics performing his first back flip at 10. He later added juggling, a magic act, piano, and drums to his talents which made him a regular performer at local clubs. He made his stage debut with a small theater group directed by Lloyd Bridges which in turn led to his film debut in 'The Boy With Green Hair' followed by a part in 'Samson and Delilah' and the title role in 'The Kid From Cleveland.' He earned an Oscar nomination as Best Supporting Actor for 'Peyton Place' receiving high praise from both director Mark Robson and choreographer Michael Kidd, who was a close friend of Jerome Robbins, and who'd worked with Russ on 'Seven Brides For Seven Brothers.' Summoned for both a dancing and acting screen test with Robert Wise and Jerome Robbins he was cast as Riff the leader of the Jets in the Oscar winning film 'West Side Story.' In his films up to 1952 he was credited as Rusty Tamblyn and Russ Tamblyn after that.- Actor
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Howard Keel was the Errol Flynn and Clark Gable of "golden age" movie musicals back in the 1950s. With a barrel-chested swagger and cocky, confident air, the 6'4" brawny baritone Keel had MGM's loveliest songbirds swooning helplessly for over a decade in what were some of the finest musical films ever produced.
Born Harry (or Harold) Clifford Keel in Gillespie, Illinois, in 1919 to Homer Charles Keel and Grace (Osterkamp) Keel, and the brother of Frederick William Keel, his childhood was unhappy, his father being a hard-drinking coal miner and his mother a stern, repressed Methodist homemaker. When Keel was 11 his father died, and the family moved to California. He later earned his living as a car mechanic, then found work during WWII at Douglas Aircraft in Los Angeles. His naturally untrained voice was discovered by the staff of his aircraft company and soon he was performing at various entertainments for the company's clients. He was inspired to sing professionally one day while attending a Hollywood Bowl concert, and quickly advanced through the musical ranks from singing waiter to music festival contest winner to guest recitalist.
Oscar Hammerstein II discovered Keel in 1946 during John Raitt's understudy auditions for the role of Billy Bigelow in Broadway's popular musical "Carousel." He was cast on sight and the die was cast. Keel managed to understudy Alfred Drake as Curly in "Oklahoma!" as well, and in 1947 took over the rustic lead in the London production, earning great success. British audiences took to the charismatic singer and he remained there as a concert singer while making a non-singing film debut in the British crime drama The Hideout (1948) (aka "The Small Voice"). MGM was looking for an answer to Warner Bros.' Gordon MacRae when they came upon Keel in England. They made a great pitch for him and he returned to the US, changing his stage moniker to Howard Keel. He became a star with his very first musical, playing sharpshooter Frank Butler opposite brassy Betty Hutton's Annie Oakley in the film version of the Broadway musical Annie Get Your Gun (1950). From then on Keel was showcased in several of MGM's biggest extravaganzas, with Show Boat (1951), Calamity Jane (1953), Kiss Me Kate (1953) and (reportedly his favorite) Seven Brides for Seven Brothers (1954) at the top of the list. Kismet (1955) opposite Ann Blyth would be his last, as the passion for movie musicals ran its course.
Keel managed to move into rugged (if routine) action fare, appearing in such 1960s films as Armored Command (1961), Waco (1966), Red Tomahawk (1967) and The War Wagon (1967), the last one starring John Wayne and featuring Keel as a wisecracking Indian, of all things. In the 1970s Keel kept his singing voice alive by returning full force to his musical roots. Some of his summer stock and touring productions, which included "Camelot," "South Pacific", "Seven Brides for Seven Brothers", "Man of La Mancha", and "Show Boat", often reunited him with his former MGM leading ladies, including Kathryn Grayson and Jane Powell. He also worked up a Las Vegas nightclub act with Grayson in the 1970s.
Keel became an unexpected TV household name when he replaced Jim Davis as the upstanding family patriarch of the nighttime soap drama Dallas (1978) after Davis' untimely death. As Clayton Farlow, Miss Ellie's second husband, he enjoyed a decade of steady work. In later years he continued to appear in concerts. As a result of this renewed fame on TV, Keel landed his first solo recording contract with "And I Love You So" in 1983. Married three times, he died in 2004 of colon cancer, survived immediately by his third wife, three daughters and one son.- Actress
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Of Danish descent and born in Syracuse, New York, Phyllis Kirk worked as a waitress and a perfume counter clerk before she began a modeling career. Stage roles ensued before Hollywood beckoned. She was a contract player at MGM and then Warner Brothers, where in her most famous role she was stalked by maniacal sculptor Vincent Price in House of Wax (1953). Kirk's talents were better showcased on the small screen, where she had dramatic roles on many prestigious series and consequently made the covers of TV Guide and Life magazines. Probably her best-known TV role was Nora Charles, the daffy, fast-talking wife of Peter Lawford on The Thin Man (1957). During her acting career, she also worked as an interviewer and writer for the ACLU. After her final roles in the 1970s, she went to work in public relations before retiring.- Actor
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Tony Randall was born on February 26, 1920 in Tulsa, Oklahoma as Aryeh Leonard Rosenberg. He attended Tulsa Central High School and later Northwestern University and New York City's Neighborhood Playhouse School of the Theatre. After graduating, he starred in two plays: George Bernard Shaw's 'Candida' alongside Jane Cowl and Emlyn Williams' 'The Corn Is Green' alongside Ethel Barrymore. After four years with the United States Army Signal Corps in World War II, Randall found work at Montgomery County's Olney Theatre before heading back to New York City to continue his acting career.
During the 1940s, Randall appeared mostly in supporting roles in Broadway plays. He was given his first leading role in 1955 with 'Inherit the Wind'. Randall managed to nab a Tony Award nomination for his starring role in 1958's 'Oh, Captain!', although the play itself bombed.
His first role in a feature film came about in 1957, playing a supporting character in the Ginger Rogers vehicle Oh, Men! Oh, Women! (1957). The same year, he received a Golden Globe nomination for his role as the titular writer for television advertising in the satirical comedy Will Success Spoil Rock Hunter? (1957). Randall also lent his support to the three famous Doris Day-Rock Hudson pairings Pillow Talk (1959), Lover Come Back (1961), and Send Me No Flowers (1964), securing Golden Globe nominations for the former two. Randall worked quite prolifically throughout the 1960s; notable roles include a public relations employee in the Marilyn Monroe romantic musical Let's Make Love (1960), seven quite different characters in the oddball 7 Faces of Dr. Lao (1964), iconic detective Hercule Poirot in The Alphabet Murders (1965), an architect who inadvertently releases a djinn in the fantasy The Brass Bottle (1964), and a man who lives in an underwater house with his family in the adventure Hello Down There (1969).
Randall's first major television role was as a history teacher on Mister Peepers (1952); he joined the cast in 1955. After the series ended, he had numerous guest spots on such shows as The United States Steel Hour (1953), The Alfred Hitchcock Hour (1962), Love, American Style (1969), and Here's Lucy (1968). He wouldn't return to TV in a major role until 1970, when he played sardonic neat freak Felix Unger in ABC's The Odd Couple (1970) opposite Jack Klugman. He earned Emmy nominations for each season, finally winning in 1975 for its last. He later starred in The Tony Randall Show (1976) as a Philadelphia judge, and Love, Sidney (1981) as a gay artist. The former earned him one Golden Globe nomination and the latter earned him two. He reunited with Jack Klugman for the 1993 TV movie The Odd Couple: Together Again (1993).
Both during and after his stints on TV, Randall had small roles in a few well-known films such as Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972), The King of Comedy (1982), My Little Pony: The Movie (1986), and Gremlins 2: The New Batch (1990). He continued to guest-star on television shows, but would never return to the small screen as a leading man. He also continued to work on-stage, albeit infrequently.
Randall passed away in his sleep on May 17, 2004 of pneumonia he had contracted following coronary bypass surgery in December 2003. He is survived by his wife, Heather Harlan, whom he wed in 1995, and their two children. Randall had previously been married to Florence Gibbs from 1938 until her death in 1992.- Actor
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Rock Hudson was born Roy Harold Scherer, Jr. in Winnetka, Illinois, to Katherine (Wood), a telephone operator, and Roy Harold Scherer, an auto mechanic. He was of German, Swiss-German, English, and Irish descent. His parents divorced when he was eight years old. He failed to obtain parts in school plays because he couldn't remember lines. After high school he was a postal employee and during WW II served as a Navy airplane mechanic. After the war he was a truck driver. His size and good looks got him into movies. His name was changed to Rock Hudson, his teeth were capped, he took lessons in acting, singing, fencing and riding. One line in his first picture, Fighter Squadron (1948), needed 38 takes. In 1956 he received an Oscar nomination for Giant (1956) and two years later Look magazine named him Star of the Year. He starred in a number of bedroom comedies, many with Doris Day, and had his own popular TV series McMillan & Wife (1971). He had a recurring role in TV's Dynasty (1981) (1984-5). He was the first major public figure to announce he had AIDS, and his worldwide search for a cure drew international attention. After his death his long-time lover Marc Christian successfully sued his estate, again calling attention to the homosexuality Rock had hidden from most throughout his career.- Actor
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Dreamy Tab Hunter stood out in film history as one of the hottest teen idols of the 1950s era. With blond, tanned, surfer-boy good looks, he was artificially groomed and nicknamed "The Sigh Guy" by the Hollywood studio system, yet managed to continue his career long after his "golden boy" prime.
Hunter was born Arthur Kelm on July 11, 1931 in New York City, to Gertrude (Gelien) and Charles Kelm. His father was Jewish and his mother was a German Catholic immigrant. Following his parents' divorce, Hunter grew up in California with his mother, older brother Walter, and maternal grandparents, Ida (Sonnenfleth) and John Henry Gelien. His mother changed her sons' surnames to her maiden name, Gelien. Leaving school and joining the Coast Guard at age fifteen (he lied about his age), he was eventually discharged when the age deception was revealed. Returning home, his life-long passion for horseback riding led to a job with a riding academy.
Hunter's fetching handsomeness and trim, athletic physique eventually steered the Californian toward the idea of acting. An introduction to famed agent Henry Willson had Tab signing on the dotted line and what emerged, along with a major career, was the stage moniker of "Tab Hunter." Willson was also responsible with pointing hopeful Roy Fitzgerald towards stardom under the pseudonym Rock Hudson. With no previous experience Tab made his first, albeit minor, film debut in the racially trenchant drama The Lawless (1950) starring Gail Russell and Macdonald Carey. His only line in the movie was eventually cut upon release. It didn't seem to make a difference for he co-starred in his very next film, the British-made Island of Desire (1952) opposite a somewhat older (by ten years) Linda Darnell, which was set during WWII on a deserted, tropical South Seas isle. His shirt remained off for a good portion of the film, which certainly did not go unnoticed by his ever-growing legion of female (and male) fans.
Signed by Warner Bros., stardom was clinched a few years later with another WWII epic Battle Cry (1955), based on the Leon Uris novel, in which he again played a boyish soldier sharing torrid scenes with an older woman (this time Dorothy Malone, playing a love-starved Navy wife). Thoroughly primed as one of Hollywood's top beefcake commodities, the tabloid magazines had a field day initiating an aggressive campaign to "out" Hunter as gay, which would have ruined him. To combat the destructive tactics, Tab was seen escorting a number of Hollywood's lovelies at premieres and parties. In the meantime, he was seldom out of his military fatigues on film, keeping his fans satisfied in such popular dramas as The Sea Chase (1955), The Burning Hills (1956) and The Girl He Left Behind (1956)--the last two opposite the equally popular Natalie Wood. At around this time, Hunter managed to parlay his boy-next-door film celebrity into a singing career. He topped the charts for over a month with the single "Young Love" in 1957 and produced other "top 40" singles as well.
Like other fortunate celebrity-based singers such as Shelley Fabares and Paul Petersen, his musical reign was brief. Out of it, however, came the most notable success of his film career top-billing as baseball fan Joe Hardy in the classic Faustian musical Damn Yankees (1958) opposite Gwen Verdon and Ray Walston, who recreated their devil-making Broadway roles. Musically, Tab may have been overshadowed but he brought with him major star power and the film became a crowd pleaser. He continued on with the William A. Wellman-directed Lafayette Escadrille (1958) as, yet again, a wholesome soldier, this time in World War I. More spicy love scenes came with That Kind of Woman (1959), an adult comedy-drama which focused on soldier Hunter and va-va-voom mistress Sophia Loren demonstrating some sexual chemistry on a train.
Seldom a favorite with the film critics, the 1960s brought about a career change for Tab. He begged out of his restrictive contract with Warners and ultimately paid the price. With no studio to protect him, he was at the mercy of several trumped-up lawsuits. Worse yet, handsome Troy Donahue had replaced him as the new beefcake on the block. With no film offers coming his way, he starred in his own series The Tab Hunter Show (1960), a rather featherweight sitcom that centered around his swinging bachelor pad. The series last only one season. On the positive side he clocked in with over 200 TV programs over the long stretch and was nominated for an Emmy award for his outstanding performance opposite Geraldine Page in a Playhouse 90 episode. Following the sparkling film comedy The Pleasure of His Company (1961) opposite Debbie Reynolds, the quality of his films fell off drastically as he found himself top-lining such innocuous fare as Operation Bikini (1963), Ride the Wild Surf (1964) (1965), City in the Sea (1965) [aka War-Gods of the Deep], and Birds Do It (1966) both here and overseas.
As for stage, a brief chance to star on Broadway happened in 1964 alongside the highly volatile Tallulah Bankhead in Tennessee Williams's "The Milk Train Doesn't Stop Here Anymore." It lasted five performances. He then started to travel the dinner theater circuit. Enduring a severe lull, Tab bounced back in the 1980s and 1990s -- more mature, less wholesome, but ever the looker. He gamely spoofed his old clean-cut image by appearing in delightfully tasteless John Waters' films as a romantic dangling carrot to heavyset transvestite "actress" Divine. Polyester (1981) was the first mainstream hit for Waters and Tab went on to team up with Allan Glaser to co-produce and co-star a Waters-like western spoof Lust in the Dust (1984).
Co-starring with "Exorcist" star Linda Blair in the bizarre horror film Grotesque (1988), Tab's last on-camera appearance would be in a small role in the film Dark Horse (1992), which he produced. He preferred spending most of his time secluded on his ranch and breeding horses. In 2005, he returned to the limelight when he "came out" with a tell-all memoir on his Hollywood years. His long-time partner was film producer Allan Glaser.
Tab died on July 8, 2018, in Santa Barbara, California, three days shy of his 87th birthday.- Carroll Baker was born on May 28, 1931 in Johnstown, Pennsylvania, the daughter of a traveling salesman, William W. Baker. She attended community college for a year and then worked as a dancer and magician's assistant. After a brief marriage, she had a small part in Easy to Love (1953), did TV commercials, and had a bit part on Broadway. She studied at the Actors Studio and was married to director Jack Garfein (one daughter, Blanche Baker). Warner Brothers, sensing a future Marilyn Monroe, cast her in Giant (1956), Baby Doll (1956) (Oscar nomination for her thumb-sucking role), The Carpetbaggers (1964) and Harlow (1965) (title role). Moving to Italy, she made films there and in England, Germany, Mexico and Spain . After returning to American films, she married Donald Burton in 1982 and resided in Hampstead, London in the 1980s. They remained together until Burton's death from emphysema in their home in Cathedral City, California in 2007.
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Multi-talented and unconventional actor/director regarded by many as one of the true "enfant terribles" of Hollywood who led an amazing cinematic career for more than five decades, Dennis Hopper was born on May 17, 1936, in Dodge City, Kansas. The young Hopper expressed interest in acting from a young age and first appeared in a slew of 1950s television shows, including Medic (1954), Cheyenne (1955) and Sugarfoot (1957). His first film role was in Rebel Without a Cause (1955), quickly followed by Giant (1956) and Gunfight at the O.K. Corral (1957). Hopper actually became good friends with James Dean and was shattered when Dean was killed in a car crash in September 1955.
Hopper portrayed a young Napoléon Bonaparte (!) in the star-spangled The Story of Mankind (1957) and regularly appeared on screen throughout the 1960s, often in rather undemanding parts, usually as a villain in westerns such as True Grit (1969) and Hang 'Em High (1968). However, in early 1969, Hopper, fellow actor Peter Fonda and writer Terry Southern, wrote a counterculture road movie script and managed to scrape together $400,000 in financial backing. Hopper directed the low-budget film, titled Easy Rider (1969), starring Fonda, Hopper and a young Jack Nicholson. The film was a phenomenal box-office success, appealing to the anti-establishment youth culture of the times. It changed the Hollywood landscape almost overnight and major studios all jumped onto the anti-establishment bandwagon, pumping out low-budget films about rebellious hippies, bikers, draft dodgers and pot smokers. However, Hopper's next directorial effort, The Last Movie (1971), was a critical and financial failure, and he has admitted that during the 1970s he was seriously abusing various substances, both legal and illegal, which led to a downturn in the quality of his work. He appeared in a sparse collection of European-produced films over the next eight years, before cropping up in a memorable performance as a pot-smoking photographer alongside Marlon Brando and Martin Sheen in Francis Ford Coppola's Vietnam War epic Apocalypse Now (1979). He also received acclaim for his work in both acting and direction for Out of the Blue (1980).
With these two notable efforts, the beginning of the 1980s saw a renaissance of interest by Hollywood in the talents of Dennis Hopper and exorcising the demons of drugs and alcohol via a rehabilitation program meant a return to invigorating and provoking performances. He was superb in Rumble Fish (1983), co-starred in the tepid spy thriller The Osterman Weekend (1983), played a groovy school teacher in My Science Project (1985), was a despicable and deranged drug dealer in River's Edge (1986) and, most memorably, electrified audiences as foul-mouthed Frank Booth in the eerie and erotic David Lynch film Blue Velvet (1986). Interestingly, the offbeat Hopper was selected in the early 1980s to provide the voice of "The StoryTeller" in the animated series of "Rabbit Ears" children's films based upon the works of Hans Christian Andersen!
Hopper returned to film direction in the late 1980s and was at the helm of the controversial gang film Colors (1988), which was well received by both critics and audiences. He was back in front of the cameras for roles in Super Mario Bros. (1993), got on the wrong side of gangster Christopher Walken in True Romance (1993), led police officer Keanu Reeves and bus passenger Sandra Bullock on a deadly ride in Speed (1994) and challenged gill-man Kevin Costner for world supremacy in Waterworld (1995). The enigmatic Hopper continued to remain busy through the 1990s and into the new century with performances in All the Way (2003), The Keeper (2004) and Land of the Dead (2005).
As well as his acting/directing talents, Hopper was a skilled photographer and painter, having had his works displayed in galleries in both the United States and overseas. He was additionally a dedicated and knowledgeable collector of modern art and had one of the most extensive collections in the United States. Dennis died of prostate cancer on May 29, 2010, less than two weeks after his 74th birthday.- Actor
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Suave and handsome Australian actor arrived in Hollywood in the 1950s, and built himself up from a supporting actor into taking the lead in several well-remembered movies. Arguably his most fondly remembered role was that as George (Herbert George Wells), the inventor, in George Pal's spectacular The Time Machine (1960). As the movie finished with George, and his best friend Filby Alan Young seemingly parting forever, both actors were brought back together in 1993 to film a 30-minute epilogue to the original movie! Taylor's virile, matinée idol looks also assisted him in scoring the lead of Mitch Brenner in Alfred Hitchcock's creepy thriller The Birds (1963), the role of Jane Fonda's love interest in Sunday in New York (1963), the title role in John Ford's biopic of Irish playwright Sean O'Casey in Young Cassidy (1965), and a co-starring role in The Train Robbers (1973) with John Wayne. Taylor also appeared as Bette Davis future son-in-law in the well-received film The Catered Affair (1956). He also gave a sterling performance as the German-American Nazi Major trying to fool James Garner in 36 Hours (1964). Later, Taylor made many westerns and action movies during the 1960s and 1970s; however, none of these were much better than "B" pictures and failed to push his star to the next level. Additionally, Taylor was cast as the lead in several TV series including Bearcats! (1971), Masquerade (1983), and Outlaws (1986); however, none of them truly ignited viewer interest, and they were cancelled after only one or two seasons. Most fans would agree that Rod Taylor's last great role was in the wonderful Australian film The Picture Show Man (1977), about a travelling sideshow bringing "moving pictures" to remote towns in the Australian outback.- Actress
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From working for the exacting Alfred Hitchcock to a film written by Edward D. Wood Jr., Tippi Hedren, the Minnesota blonde, has had a distinctive career. She was born Nathalie Kay Hedren in New Ulm, MN, to Dorothea (née Eckhardt) and Bernard Hedren, who ran a general store, and is of Swedish, Norwegian, and German descent. Tippi was working as a New York fashion model when she married her first husband, former actor and later advertising executive Peter Griffith, in 1952 (married until 1961). She gave birth to her only child, future star Melanie Griffith, on August 9, 1957. Alfred Hitchcock discovered Tippi, the pretty cover girl, while viewing a commercial on NBC's Today (1952) show. He put her under personal contract and cast her in The Birds (1963). In a cover article about the movie in Look magazine (Dec. 4, 1962), Hitchcock praised her; he also told the Associated Press: "Tippi Hedren is really remarkable. She's already reaching the lows and highs of terror". Her performance in the film earned her both the Golden Globe award and the Photoplay award as Most Promising Newcomer. Her next film was playing the title role in Hitchcock's Marnie (1964), where she played a challenging and difficult role of a frigid, habitual thief. The film wasn't as big a hit as "The Birds," and it would take years before she won well-deserved admiration for her work. The professional relationship with Hitchcock ended with mutual bitterness and disappointment during the filming of "Marnie." That year, she married her agent, Noel Marshall (married until 1982). Charles Chaplin cast her in a supporting role in his final film A Countess from Hong Kong (1967), which flopped. Thereafter, Tippi and her husband Marshall collected big cats and other wildlife for the film Roar (1981), which they starred in and produced. The film took 11 years and $17 million to make, but it only made $2 million worldwide. Nevertheless, the film was a turning point in her life; she became actively involved in animal rights, as well as a wide variety of humanitarian and environmental causes. She married her third husband, businessman Luis Barrenecha, in 1985 but divorced him seven years later. In 2002, she became engaged to veterinarian Martin Dinnes, but after six years and no wedding, the couple called it quits. Tippi has devoted much time and effort to charitable causes: she is a volunteer International Relief Coordinator for "Food for the Hungry". She has traveled worldwide to set up relief programs following earthquakes, hurricanes, famine and war, and has received numerous awards for her efforts, including the Humanitarian Award presented to her by the Baha'i Faith. As for animal causes, she is founder and president of The Roar Foundation. Onscreen, she continues to work frequently in films, theater and TV. She appeared in I Woke Up Early the Day I Died (1998), finally bringing to the big screen the last screenplay written by the late Edward D. Wood Jr. in 1974 (and featuring Wood regulars Maila Nurmi and Conrad Brooks, just about the only surviving members of Wood's stock company). She also enjoyed playing comedic roles, such as an abortion rights activist in Alexander Payne's satire Citizen Ruth (1996) and slapping Jude Law in I Heart Huckabees (2004). Tippi's contributions to world cinema have been honored with Life Achievement awards in France at The Beauvais Film Festival Cinemalia 1994; in Spain, by The Fundacion Municipal De Cine in 1995; and at the Riverside International Film Festival in 2007. In 1999, Tippi was honored as "Woman of Vision" by Women in Film and Video in Washington, D.C., and received the Presidential Medal for her work in film from Hofstra University. She enjoys spending time with her daughter and grandchildren: Alexander Bauer, Dakota Johnson and Stella Banderas.- Actress
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Her father, Donald Cole, was a consulting engineer, and died in 1926 when Kim was only three years old. Her mother, Grace Lind, once performed as a concert pianist. She had one brother who was eight years older than she, and she was educated at Miami Beach High.
According to an in-depth article on Kim Hunter by Joseph Collura in the October 2009 issue of "Classic Images", Kim was quiet and painfully shy as a child and overcame it through the guidance of a local dramatics teacher, a Mrs. Carmine. Included were diction, voice and posture lessons.
She studied at the Actors Studio and her first professional appearance was as "Penny" in "Penny Wise" in Miami in November 1939. Then, she joined a repertory group called "Theatre of Fifteen", but it disbanded in 1942 when WWII took away most of its male members.
She made her Broadway debut performance as "Stella" in "A Streetcar Named Desire" at the Ethel Barrymore Theatre, New York, in December 1947 that was the 1947-1948 season's success and for which she won the Critics Circle and Donaldson awards.
A one-time student of the Pasadena Playhouse, she was appearing in the 1942 production of "Arsenic and Old Lace" when she was discovered by an RKO talent hunter who signed her to a seven-year contract for David O. Selznick's company. Selznick suggested she change her first name to "Kim" and a RKO secretary suggested the last name of "Hunter". A few years later, Irene Mayer Selznick, David's ex-wife by then, recommended Kim for her reprise role of "Stella" in A Streetcar Named Desire (1951), for which she won an Oscar.- Kim Stanley's movie roles were few and far between; she is perhaps best known for her stellar performances on stage, including successes on Broadway. But when she did step in front of the camera, nothing short of memorable resulted. Her repertoire in movies and on stage covered such diversity from the sensitive glamour-girl Rita Shawn character in the 1958 "Goddess" to the crusty, somewhat salty and sunbaked Pancho Barnes in 1983's The Right Stuff (1983). Her abilities to play such diverse roles and play them well garnered her two Academy Award nominations: one for her portrayal of the slightly unhinged medium in the 1964 Seance on a Wet Afternoon (1964) and another for her characterization of the domineering and wrathful mother of Frances Farmer in 1982's Frances (1982). Stanley was born Patricia Reid in Tularosa, New Mexico. When her parents divorced, her mother moved the family, sans father, to Texas where her mother found work as an interior decorator. Drawn to both Texas and New Mexico, Stanley often found herself lonely and unsure of what she wanted. As a child, she wrote poetry and had many a daydream about becoming an artist or, on the other hand, a May Queen. In school, she found she liked acting in plays. At 16, in San Antonio she attended a touring production of "The Philadelphia Story", which starred Katharine Hepburn. recreating her role from the movie. Overwhelmed by the performance to the point of tears (she didn't want the play to end), Stanley aspired to do what she had seen Hepburn do. In college, she received a degree in psychology after attending first the University of New Mexico and subsequently, the University of Texas. But acting was still what she aspired to. So pursuing a career connected neither to her college major nor to the states where she grew up, Stanley eventually landed an acting apprenticeship in California with the Pasadena Playhouse. Her stay there was brief and she soon moved on to a winter stock company in Louisville, Kentucky. From there, with $21 to her name, she traveled to Manhattan. The year was 1947 and her Texas accent was still very much a part of her persona -- so much so that many in the New York theatre scene advised she go home to Texas. Persevering, however, Stanley made ends meet as a dress model and as a cocktail waitress, all the while honing her skills in off-Broadway productions of the Gertrude Stein ilk. It was in Stein's "Yes Is for a Very Young Man," that New York Times theatre critic Books Atkinson singled out Stanley as an actress with promise (incidentally, he did not care much for the play she was in). Stanley was also developing her craft under the tutelage of Elia Kazan and Lee Strasberg at the Actors Studio in New York City, and scored her first Broadway success in 1952 when, at the age of 27, she played the 12-year-old Millie Owens in William Inge's "Picnic". Subsequently, in the 1954 production of Inge's "Bus Stop," as the starry-eyed chanteuse Cherie (a role Marilyn Monroe assumed for the film), Stanley ascended to even greater heights and greater accolades in her acting achievements. Though she preferred stage acting to any other facsimile and often shied away from movies (reportedly, she declined to repeat for the movies roles she mastered on stage), she frequently played roles on television during the 1950s and '60s on such theatrical programs as "Goodyear TV Playhouse" and "Magnavox Theater," garnering two Emmy awards in the process (one in 1963 for her contributions to an episode of Ben Casey (1961); the other for her Big Mama part in the 1984 PBS/American Playhouse production of Tennessee Williams' "Cat on a Hot Tin Roof"). In the latter part of her life, she gravitated toward teaching, conducting acting classes in Los Angeles and, later, returning to her roots, securing a position teaching acting at the College of Santa Fe in New Mexico.
- Actor
- Soundtrack
Albert Gordon MacRae was born on March 12, 1921, in East Orange, NJ. During his early years, he resided in Syracuse, NY, and, while in high school, spent much of his time singing and acting in the Drama Club. It was also during this time that he learned to play the piano, clarinet and the saxophone. At 19, he entered a singing contest and won a two-week engagement at The World's Fair in New York, performing with the Harry James and Les Brown bands. In 1940, while working in New York City as a page, he was "discovered" and hired to sing for the Horace Heidt Band. After a two-year stint, he joined the Army Air Corps and worked as a navigator for the next two years. He made his Broadway debut in a show called "Junior Miss", as a replacement in the role of "Tommy Arbuckle". Next, he appeared, again on Broadway, in Ray Bolger's 1946 revue, "Three To Make Ready". It was here that he was spotted by Capitol Records and signed to a long-term recording contract in 1947. He stayed with the label for more than 20 years. In October 1948, on ABC, he starred on the radio show "The Railroad Hour". The show moved to NBC in October 1949 and continued until June of 1954. It presented operettas and musical dramatizations, all starring Gordon and many different leading ladies. Also in 1948, he was signed to a seven-year contract with Warner Brothers Pictures and, soon after, made his film debut in the non-musical, The Big Punch (1948), opposite Lois Maxwell (well-known later as "Miss Moneypenny" in the James Bond films). What followed was a string of hit musicals, starting with Look for the Silver Lining (1949), in which MacRae had a featured role opposite June Haver and Ray Bolger, and five fondly remembered films with Doris Day, beginning with Tea for Two (1950). Perhaps his two best and well-known films were two of his last: Oklahoma! (1955) and Carousel (1956), both written by Richard Rodgers and Oscar Hammerstein II and both opposite screen newcomer Shirley Jones. MacRae began to suffer, in the late 1950s and early 1960s, from bouts of heavy drinking and, by his own admission, developed into an alcoholic. He revealed that he had been "picked up for drunk driving" during the filming of "Carousel". He conquered the disease in the 1970s and went on to counsel other alcoholics. He continued recording and performing on dozens of television shows. He and his wife, Sheila MacRae, appeared together frequently and even released an album together. His daughters, Meredith MacRae and Heather MacRae, acted in films and on TV. On September 22, 1974, he appeared as a sheriff on an episode of McCloud (1970), starring Dennis Weaver, entitled "The Barefoot Girls of Bleeker Street". His final film came in 1979, a fine dramatic role in The Pilot (1980), which starred Cliff Robertson. He suffered a stroke in 1982. He continued on with the support of his second wife, Elizabeth, and his five children. This brilliant performer continued to tour, when his health would permit, allowing audiences to relive some of his biggest film hits. On January 24, 1986, Gordon MacRae died at the age of 64, at his home in Lincoln, NE, of pneumonia, the result of complications from cancer of the mouth and jaw.- Director
- Actor
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Gene Nelson was barely a teen when he saw the Fred Astaire movie Flying Down to Rio (1933), which would change his life. It was then that he decided he would be a dancer. After graduating from high school, Nelson joined the Sonja Henie Ice Show and toured for 3 years before joining the Army in World War II. After he was discharged, he appeared in a handful of movies before 1950. He worked with Debbie Reynolds in The Daughter of Rosie O'Grady (1950), Doris Day in Tea for Two (1950) and Virginia Mayo in She's Working Her Way Through College (1952). He would be best known for his role of cowboy Will Parker in Oklahoma! (1955), where he would twirl the lasso to the tune of "Kansas City".
After his dancing days ended he turned to directing TV and films, including two Elvis Presley movies, Kissin' Cousins (1964) and Harum Scarum (1965). For television he directed episodes of I Dream of Jeannie (1965), Star Trek (1966), The Rifleman (1958), The Donna Reed Show (1958) and many others.- Actress
- Soundtrack
Named after child star Shirley Temple, Shirley Jones started singing at the age of six. She started formal training at the age of 12 and would dream of singing with her idol, Gordon MacRae. Upon graduating from high school, Shirley went to New York to audition for the casting director of Rodgers & Hammerstein. Taken by Shirley's beautifully trained voice, Shirley was signed as a nurse in the Broadway production of "South Pacific". Within a year, she would be in Hollywood to appear in her first film Oklahoma! (1955) as Laurey, the farm girl in love with cowboy Gordon MacRae. Oklahoma! (1955) would be filmed in CinemaScope and Todd-AO wide-screen and would take a year to shoot. After that, Shirley returned to Broadway for the stage production of "Oklahoma!" before returning to Hollywood for Carousel (1956). But by this time, musicals were a dying art and she would have a few lean years. She would work on television in programs like Playhouse 90 (1956). With a screen image comparable to peaches-n-cream, Shirley wanted a darker role to change her image. In 1960, she would be cast as the vengeful prostitute in the Richard Brooks dramatic film Elmer Gantry (1960). With a brilliant performance against an equally brilliant Burt Lancaster, Shirley would win the Oscar for Supporting Actress. But the public wanted the good Shirley so she was cast as "Marion", the librarian, in the successful musical The Music Man (1962). Robert Preston had played the role on Broadway and his performance along with Shirley was magic. Shirley would again work with little Ron Howard in The Courtship of Eddie's Father (1963). But the movies changed in the 60's and Shirley's image did not fit so she would see her movie career stop in 1965. There were always nightclubs, but Shirley would be remembered by another generation as "Shirley Partridge" in the television series The Partridge Family (1970). While the success of the show would do more for her stepson, teen idol David Cassidy, it would keep her name and face in the public view for the four years that the series ran. The show still plays in reruns. After the show ended, Shirley would spend the rest of the 70's in the land of television movies. The television movie The Lives of Jenny Dolan (1975) would be made as a pilot for a series that was not picked up. In 1979, Shirley appeared in a comedy show called Shirley (1979), but the show lasted only one season. Shirley would appear infrequently in the 80's and in video's extolling fitness and beauty at the end of the decade.- Actor
- Soundtrack
Rodney Stephen Steiger was born in Westhampton, New York, to Augusta Amelia (Driver) and Frederick Jacob Steiger, both vaudevillians. He was of German and Austrian ancestry. After his parents' divorce, Steiger was raised by his mother in Newark, New Jersey. He dropped out of Westside High school at age 16 and joined the Navy. He saw action in the Pacific on a destroyer. Steiger returned to New Jersey after the war and worked for the VA. He was part of an amateur acting group, and then joined the Actors' Studio using his GI Bill benefits.
Steiger received his first film roles in the early 1950s. His first major one was in Teresa (1951), but his first lead role was in the TV version of Marty (1953). The movie version, however, had Ernest Borgnine in the lead and won him an Academy Award. Steiger's breakthrough role came in 1954, with the classic On the Waterfront (1954). Since then he has been a presence on the screen as everything from a popular leading man to a little-known character actor. Steiger made a name for himself in many different types of roles, from a crooked promoter in The Harder They Fall (1956) to the title character in Al Capone (1959). He was one of dozens of stars in the epic World War II film The Longest Day (1962). In 1964, he received his second Oscar nomination for The Pawnbroker (1964). The next couple of years he was at the height of his powers. In 1965, he starred in the dark comedy The Loved One (1965), and in David Lean's epic Doctor Zhivago (1965). In 1966, he starred in the BBC Play of the Month (1965) episode "Death of a Salesman" as Willy Loman in the TV version of his stage play "Death of a Salesman," but in 1967, he landed what many consider his greatest role: Sheriff Bill Gillespie in In the Heat of the Night (1967), opposite Sidney Poitier. Steiger deservedly took home the Best Actor Oscar for his work in that film.
He took another controversial role as a man with many tattoos in The Illustrated Man (1969) and as a serial killer in the classic No Way to Treat a Lady (1968). After that, he seemed to have withdrawn from high-profile movies and became more selective in the roles he chose. He turned down the lead in Patton (1970) and also in The Godfather (1972). Among his more notable roles in the 1970s are Happy Birthday, Wanda June (1971), Lolly-Madonna XXX (1973), as Benito Mussolini in The Last 4 Days (1974), Portrait of a Hitman (1979), Jesus of Nazareth (1977), F.I.S.T. (1978) and The Amityville Horror (1979). He starred in the critically acclaimed The Chosen (1981) with Robby Benson and Maximilian Schell, perhaps the highlight of his 1980s movie career. Steiger increasingly moved away from the big Hollywood pictures, instead taking roles in foreign productions and independent movies. As the 1980s ended, Steiger landed a role as the buttoned-up New York City Chief of Police in The January Man (1989).
Steiger was seriously affected by depression for 8 years. As he returned to the screen in the late 1990s he began creating some of his most memorable roles. He was the doctor in the independently-made movie Shiloh (1996), about an abused dog. He was the crazed, kill-'em-all army general in Mars Attacks! (1996) who always called his enemies peace-mongers. He took a small part as a Supreme Court judge in The Hurricane (1999) and as a preacher in the badly produced film End of Days (1999). He was still active in films moving into the new millennium.- Actress
- Soundtrack
Demure British beauty Jean Simmons was born January 31, 1929, in Crouch End, London. As a 14-year-old dance student, she was plucked from her school to play Margaret Lockwood's precocious sister in Give Us the Moon (1944). She had a small part as a harpist in the high-profile Caesar and Cleopatra (1945), produced by Gabriel Pascal, starring Vivien Leigh, and co-starring her future husband Stewart Granger. Pascal saw potential in Simmons, and in 1945 he signed her to a seven-year contract to the J. Arthur Rank Organization, and she went on to make a name for herself in such major British productions as Great Expectations (1946) (as the spoiled, selfish Estella), Black Narcissus (1947) (as a sultry native beauty), Hamlet (1948) (playing Ophelia to Laurence Olivier's great Dane and earning a Best Supporting Actress Oscar nomination), The Blue Lagoon (1949) and So Long at the Fair (1950), among others.
In 1950, she married Stewart Granger, and that same year, she moved to Hollywood. While Granger was signed to Metro-Goldwyn-Mayer, Rank sold her contract to Howard Hughes, who then owned RKO Pictures. Hughes was eager to start a sexual relationship with Simmons, but Granger put a stop to his advances. Her first Hollywood film was Androcles and the Lion (1952), produced by Pascal and co-starring Victor Mature. It was followed by Angel Face (1952), directed by Otto Preminger with Robert Mitchum. To further punish Simmons and Granger, Hughes refused to lend her to Paramount, where William Wyler wanted to cast her in the female lead for his film Roman Holiday (1953); the role made a star of Audrey Hepburn. A court case freed Simmons from the contract with Hughes in 1952. They settled out of court; part of the arrangement was that Simmons would do one more film for no additional money. Simmons also agreed to make three more movies under the auspices of RKO, but not actually at that studio - she would be lent out. MGM cast her in the lead of Young Bess (1953) playing a young Queen Elizabeth I with Granger. She went back to RKO to do the extra film under the settlement with Hughes, titled Affair with a Stranger (1953) with Mature; it flopped.
Simmons went over to 20th Century Fox to play the female lead in The Robe (1953), the first CinemaScope movie and an enormous financial success. Less popular was The Actress (1953) at MGM alongside Spencer Tracy, despite superb reviews; it was one of her personal favorites. Fox asked Simmons back for The Egyptian (1954), another epic, but it was not especially popular. She had the lead in Columbia's A Bullet Is Waiting (1954). More popular with moviegoers was Désirée (1954), where Simmons played Désirée Clary to Marlon Brando's Napoleon Bonaparte. Simmons and Granger returned to England to make the thriller Footsteps in the Fog (1955). She then starred in the musical Guys and Dolls (1955) with Brando and Frank Sinatra; she used her own singing voice and earned her first Golden Globe Award. Simmons played the title role in Hilda Crane (1956) at Fox, a commercial failure. So, too, were This Could Be the Night (1957) and Until They Sail (1957), both at MGM. Simmons had a big success, though, in The Big Country (1958), directed by Wyler. She starred in Home Before Dark (1958) at Warner Bros. and This Earth Is Mine (1959) with Rock Hudson at Universal.
Simmons divorced Granger in 1960 and almost immediately married writer-director Richard Brooks, who cast her as Sister Sharon opposite Burt Lancaster in Elmer Gantry (1960), a memorable adaptation of the Sinclair Lewis novel. That same year, she co-starred with Kirk Douglas in Stanley Kubrick's Spartacus (1960) and played a would-be homewrecker opposite Cary Grant in The Grass Is Greener (1960).
Off the screen for a few years, Jean captivated moviegoers with a brilliant performance as the mother in All the Way Home (1963), a literate, tasteful adaptation of James Agee's "A Death in the Family". However, after that, she found quality projects somewhat harder to come by, and took work in Life at the Top (1965), Mister Buddwing (1966), Divorce American Style (1967), Rough Night in Jericho (1967), The Happy Ending (1969) (a Richard Brooks film for which she was again Oscar-nominated, this time as Best Actress).
Jean continued making films well into the 1970s. In the 1980s, she appeared mainly in television miniseries, such as North & South: Book 1, North & South (1985) and The Thorn Birds (1983). She made a comeback to films in 1995 in How to Make an American Quilt (1995) co-starring Winona Ryder and Anne Bancroft, and most recently voiced the elderly Sophie in the English version of Hayao Miyazaki's Howl's Moving Castle (2004). She now resided in Santa Monica, California, with her dog, Mr. Gates, and her two cats, Adisson and Megan. Jean Simmons died of lung cancer on January 22, 2010, nine days before her 81st birthday.- Actor
- Producer
- Soundtrack
Burly American character actor Ralph Meeker first acted on stage at his alma mater, Northwestern University, alongside other budding performers Charlton Heston and Patricia Neal. He graduated as a music major because his dean had discouraged him from pursuing a theatrical career. Ignoring that advice, Meeker nevertheless moved to New York to study method acting and performing in local stock companies. After being injured during a brief wartime stint with the navy and consequently discharged from active duty, Meeker went overseas to play his part in entertaining the troops as a member of the USO. He finally arrived on Broadway in 1945 and was given small roles in two plays produced by José Ferrer, making his stage debut in "Strange Fruit". He was still relatively unknown in 1947 when he replaced Marlon Brando as Stanley Kowalski in "A Streetcar Named Desire" two years later, in the process giving a commanding and critically acclaimed performance. After playing Kowalski in the touring company of 'Streetcar', Meeker was again critically acclaimed for his part in the original production of "Mister Roberts" . As a result, he had several European motion picture offers and elected to play the role of an army sergeant in Teresa (1951), co-starring Pier Angeli. That same year, he was in another continental drama shot on location in Switzerland, entitled Four in a Jeep (1951). After a two-year sojourn at MGM, Meeker returned to Broadway to star as the swaggering, likable, larger-than-life rogue Hal Carter in William Inge's play "Picnic" on Broadway. His performance not only was highly praised by reviewers like Brooks Atkinson but also won him the New York Critics Circle Award. In later years, Meeker claimed to have spurned Columbia's offer of reprising his role on screen because he disdained being shackled by a studio contract. In any case, the prize role went to William Holden, and Meeker ended up being consigned for the next thirty years to provide support (with the odd exception) as hard- nosed guys on either side of the law (or bullies with a yellow streak). He did, nonetheless, leave his mark with several top-notch performances.
One of his best early screen roles was that of the disgraced ex-Union officer Roy Anderson in Anthony Mann's brilliant revenge western The Naked Spur (1953). As one of four men stripped of humanity by greed and hatred (the others were James Stewart, Robert Ryan and Millard Mitchell), Ralph Meeker gave a convincing portrayal of a cynical and callous opportunist.
Meeker's defining role was that of Mike Hammer in Kiss Me Deadly (1955). The film was unusual in that Hammer was played -- unlike the gumshoes of previous films noir -- as a basically unsavoury character. His was one of the first antiheroes who began to appear in films of the 1960s. Under the direction of Robert Aldrich, Meeker's characterisation as Mike Hammer effectively contrasted a smooth, handsome facade with an undercurrent of arrogance, unmitigated ruthlessness and greed. After the film was released, it ran into censorship trouble, the Kefauver Commission labelling it the Number One Menace to American Youth for 1955. While "Kiss Me Deadly" acquired a cult following over the years, it certainly failed to advance the career of Ralph Meeker.
He did, however, manage to get second billing for the part of Corporal Paris, one of three World War I French infantry men randomly selected for execution (because their regiment had refused a suicidal mission) in Stanley Kubrick's harrowing anti-war drama Paths of Glory (1957). He gave another finely etched performance through his character's gradual deterioration from swaggering bravado to abject fear. Also that year, Meeker played a snarling, Indian-hating Yankee officer in Run of the Arrow (1957) and co-starred as Jane Russell's unlikely kidnapper in the failed Norman Taurog comedy The Fuzzy Pink Nightgown (1957).
In between numerous television appearances during the '60s, Meeker returned to the stage as member of the Lincoln Centre Repertory Theatre, where he was reunited with Elia Kazan (who had directed him in 'Streetcar') to act in Arthur Miller's play "After the Fall" (1964-65). He also worked with Robert Aldrich again in "The Dirty Dozen" and that same year with Roger Corman playing George 'Bugs' Moran (who Meeker allegedly resembled), the Chicago mobster whose gang was famously 'rubbed out' by Al Capone in The St. Valentine's Day Massacre (1967).
After the decline of the studio system, Meeker found much gainful employment in television and even had his own syndicated series, Not for Hire (1959), playing a tough Honolulu investigator. However, the show came up against the similarly themed Hawaiian Eye (1959) and only ran to 39 episodes. Meeker then guest-starred on numerous other shows and had noteworthy roles as, among others, a boorish tycoon who discovers a prehistoric amphibious creature in The Outer Limits (1963) episode "The Tourist Attraction", an ex-cop turned derelict in Ironside (1967) ('Price Tag: Death Details'), and FBI agent Bernie Jenks in the TV pilot of The Night Stalker (1972). Add to that a gallery of snarling or harassed law enforcers from The Girl on the Late, Late Show (1974) to Brannigan (1975) and episodes of Harry O (1973), The Rookies (1972) and Police Story (1973). Ralph Meeker remained a much-in-demand character actor until his death of a heart attack in August 1988.- Actress
- Soundtrack
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".- It would not be easy for anyone to out-do one of American theater's finest thespians, but somehow actress Sandy Dennis managed to even out-quirk the legendary Geraldine Page when it came to affecting nervous tics and offbeat mannerisms on stage and in film. She and Page had few peers when it came to the neurotic-dispensing department. The two Actor's Studio disciples developed fascinating characterizations that seemed to manifest themselves outwardly to such physical extremes and, like a bad car accident, their overt styling was capable of both drawing in, and repelling audiences. There was no gray area. Either way, both had a searing emotional range and were undeniably transfixing figures who held up Oscar trophies to prove there was a "Method" to their respective madness. Sandy's signature quirks--her stuttering, fluttering, throat gulps, eye twitches, nervous giggles, hysterical flailing--are all a part of what made her so distinctive and unforgettable. Her untimely death of cancer at age 54 robbed the entertainment industry of a remarkable talent.
The Nebraska-born-and-bred actress was born Sandra Dale Dennis in Hastings, on April 27, 1937, the daughter of postal clerk Jack Dennis and his secretary wife Yvonne (née Hudson), who divorced in 1966 after a 38-year marriage. Living in both Kenesaw (1942) and Lincoln (1946) while growing up, she and brother Frank went to Lincoln High School with TV host Dick Cavett. Her passion for acting grew and grew while still at home. A college student at both Nebraska Wesleyan University and the University of Nebraska, she eventually found her career direction after appearing with the Lincoln Community Theater Group.
The toothy actress left Nebraska and towards the Big Apple at age 19 just to try her luck. An intense student of acting guru Uta Hagen, Sandy made her New York stage debut in a Tempo Theatre production of "The Lady from the Sea" in 1956 and that same year won her first TV role as that of Alice Holden in the daytime series Guiding Light (1952). A year later she made it to Broadway as an understudy (and eventual replacement) for the roles of Flirt and Reenie in the William Inge drama "The Dark at the Top of the Stairs," directed by Elia Kazan at the Music Box Theatre. She toured with that production and also found regional work in the plays "Bus Stop" and "Motel" while continuing to shine as a budding New York fixture in "Burning Bright," "Face of a Hero" and "Port Royal".
Along with fellow newcomers Gary Lockwood and Phyllis Diller, Sandy made her movie debut in playwright Inge's Splendor in the Grass (1961), a movie quite welcoming of Sandy's neurotic tendencies. In the minor but instrumental role of Kay, she is an unwitting instigator of friend Deanie's (played by an ambitiously unbalanced Natalie Wood) mental collapse. Despite this worthy little turn, Sandy would not make another film for five years.
Instead, the actress set her sights strongly on the stage and for this she was handsomely rewarded, most notably in comedy. After appearing in a two-month run of the Graham Greene drama "The Complaisant Lover" at the Ethel Barrymore Theatre in 1961, stardom would be hers the very next year with her outstanding social worker role in the lighter-weight "A Thousand Clowns". Winning the Theatre World as well as the coveted Tony Award for her performance, she continue her run of prizes with a second consecutive Tony for her sexy turn in the comedy "Any Wednesday" (1964). Having made only one picture at this juncture, Sandy was not in a good position to transfer her award-winning characters to film and when they did, they went to Barbara Harris and Jane Fonda, respectively.
TV was also a viable medium for Sandy and she appeared sporadically on such programs as The Fugitive (1963), Naked City (1958) and Arrest and Trial (1963). In 1965, she appeared in London as Irina in a heralded Actor's Studio production of Chekhov's "The Three Sisters" with fellow devotees Geraldine Page, Kim Stanley, Shelley Winters, Luther Adler and Kevin McCarthy. The play was subsequently videotaped and directed by Paul Bogart, and is valuable today for the studied "Method" performances of its cast. It, however, received mixed reviews upon its release.
Returning to film in 1966, Sandy seemed to embellish every physical and emotional peculiarity she could muster for the role of the mousy wife Honey in the four-character powerhouse play Who's Afraid of Virginia Woolf? (1966) by Edward Albee. It is a mouth-dropping, emotionally shattering performance, and both she and a more even-keeled George Segal as the drop over guests of the skewering cutthroat couple George and Martha (Elizabeth Taylor and Richard Burton) more than held their own. While the distaff cast won Oscars for this (Taylor for "Best Actress" and Dennis for "Best Supporting Actress"), this ferocious landmark film blew open the "Production Code" doors once and for all and a wave of counterculture filming tackling formerly taboo subjects came to be.
Firmly established now with her Oscar win, Sandy found highly affecting lead showcases for herself. She starred as a young, naive English teacher challenged by a New York "Blackboard Jungle"-like school system in Up the Down Staircase (1967). She also stirred up some controversy along with Anne Heywood playing brittle lesbian lovers whose relationship is threatened by a sexy male visitor (Keir Dullea) in another ground-breaking film The Fox (1967). Sandy remained intriguingly off-kilter in the odd-couple romantic story Sweet November (1968) opposite Anthony Newley, the bizarre Robert Altman thriller That Cold Day in the Park (1969), and the gloomy British melodrama A Touch of Love (1969) [aka Thank You All Very Much].
Off-camera, Sandy lived for over a decade with jazz musician and saxophonist Gerry Mulligan, which began in 1965 following his devoted relationship with actress Judy Holliday who had died of cancer earlier in the year. They eventually parted ways in 1976. Rumors that they had married at some point were eventually negated by Sandy herself. Sandy also went on to have a May-December relationship with the equally quirky actor Eric Roberts from 1980 to 1985. She had no children.
At the peak of her film popularity, Sandy began the 1970s in more mainstream fashion. She and Jack Lemmon were another odd-couple hit in Neil Simon's The Out of Towners (1970) as married George and Gwen Kellerman visiting an unmerciful Big Apple. Sandy is at her whiny, plain-Jane best ("Oh, my God...I think we're being kidnapped!") as disaster upon disaster befalls the miserable twosome. Both she and Lemmon were nominated for Golden Globes. Following this, however, Sandy again refocused on the stage with an avalanche of fine performances in "How the Other Half Loves," "And Miss Reardon Drinks a Little," "A Streetcar Named Desire" (as Blanche), "Born Yesterday" (as Billie Dawn), "Absurd Person Singular," "Cat on a Hot Tin Roof" (as Maggie the Cat), "Same Time, Next Year," "The Little Foxes," "Eccentricities of a Nightingale," "The Supporting Cast" and even the title role in "Peter Pan".
A few TV and movie roles came Sandy's way in unspectacular fashion but it wasn't until the next decade that she again stole some thunder. After a moving support turn as a cast-off wife in the finely-tuned ensemble drama The Four Seasons (1981), Sandy proved terrific as a James Dean extremist in another ensemble film Come Back to the 5 & Dime Jimmy Dean, Jimmy Dean (1982), which she played first to fine acclaim on Broadway. Reunited with director Robert Altman as well as her stage compatriots Cher, Karen Black, Kathy Bates, Sudie Bond and Marta Heflin, the film version was equally praised. Her last films included Another Woman (1988), 976-EVIL (1988) and Parents (1989).
Seen less and less in later years, she gave in to her eccentric tendencies as time went on. A notorious cat lover (at one point there was a count of 33 residing in her Westport, Connecticut home), close friends included actresses Brenda Vaccaro and Jessica Walter. Her father Jack died in 1990 and around that same time Sandy was diagnosed with ovarian cancer. Undergoing chemotherapy at the time she filmed the part of a beaten-down mother in Sean Penn's The Indian Runner (1991), the role proved to be her last.
Sandy died in Westport on March 2, 1992. Her ashes were placed at the Lincoln Memorial Park in Lincoln, Nebraska. A foundation in her home state was set up to "memorialize the accomplishments of Sandy Dennis, to perpetuate her commitment to education and the performing arts, to promote cultural activities, and to encourage theatrical education, performance, and professionals". A book, "Sandy Dennis: A Personal Memoir," was published posthumously in 1997. - Actress
- Producer
- Writer
Debbie Reynolds was born Mary Frances Reynolds in El Paso, Texas, the second child of Maxine N. (Harmon) and Raymond Francis Reynolds, a carpenter for the Southern Pacific Railroad. Her film career began at MGM after she won a beauty contest at age 16 impersonating Betty Hutton. Reynolds wasn't a dancer until she was selected to be Gene Kelly's partner in Singin' in the Rain (1952). Not yet twenty, she was a quick study. Twelve years later, it seemed like she had been around forever. Most of her early film work was in MGM musicals, as perky, wholesome young women. She continued to use her dancing skills with stage work.
She was 31 when she gave an Academy Award-nominated performance in The Unsinkable Molly Brown (1964). She survived losing first husband Eddie Fisher to Elizabeth Taylor following the tragic death of Mike Todd. Her second husband, shoe magnate Harry Karl, gambled away his fortune as well as hers. With her children as well as Karl's, she had to keep working and turned to the stage. She had her own casino in Las Vegas with a home for her collection of Hollywood memorabilia until its closure in 1997. She took the time to personally write a long letter that is on display in the Judy Garland museum in Grand Rapids, Minnesota and to provide that museum with replicas of Garland's costumes. The originals are in her newly-opened museum in Hollywood.
Nearly all the money she makes is spent toward her goal of creating a Hollywood museum. Her collection numbers more than 3000 costumes and 46,000 square-feet worth of props and equipment.
With musician/actor Eddie Fisher, she was the mother of filmmaker Todd Fisher and actress Carrie Fisher. Debbie died of a stroke on December 28, 2016, one day after the death of her daughter Carrie. She was survived by her son and granddaughter, up-and-coming actress Billie Lourd.- Actor
- Music Department
- Soundtrack
Triple-threat performer singer, dancer and actor Bobby Van was the epitome of the breezy, exuberant song-and-dance man who could enliven any film he was put into. Unfortunately, he caught the tail end of MGM's musical reign during the 1950s. Alas, the visions of Gene Kelly and Donald O'Connor come more readily to mind when one reflects on the "Golden Age" of musicals, but Bobby was a charming colleague.
The entertainer was born Robert Jack Stein on December 6, 1928 in the Bronx, New York. Living most of his early youth backstage (his parents were vaudevillians), Bobby made his stage bow at the ripe old age of four, when he became a scene-stealing part of his parents' act. Bobby attended New York City schools growing up and took a special interest in music classes. His early interest focused on the trumpet, but a last-minute song-and-dance job as a replacement at a Catskill Mountains resort where he and his band were playing a gig ultimately changed his destiny. A natural on stage, he also told jokes and did impressions. World War II interrupted his nascent career but he eventually regained his momentum and started appearing regularly in nightclub, on radio and TV.
Bobby earned some Broadway attention in the musical "Alive and Kicking" and in the revival of "On Your Toes," both in 1950. In 1952 he married musical actress Diane Garrett, who abruptly retired (they adopted a son, Peter, in 1959). That year was a banner one for Bobby professionally for he had joined the MGM ranks and was now appearing in movies. He partnered up with Debbie Reynolds in Skirts Ahoy! (1952) and had a minor part in the glossy Mario Lanza vehicle Because You're Mine (1952) which featured him in a dance solo. Bobby went on to "second lead" status the following year with Small Town Girl (1953) starring Jane Powell, which featured his famous "hopping" dance sequence, then to film star as the boyish high school swooner in the warm and winning The Affairs of Dobie Gillis (1953). Best of all, he showed off his exceptional dancing prowess in the musical classic Kiss Me Kate (1953) in which he, Tommy Rall and then-dancer Bob Fosse stopped the show with their breathtaking footwork in the "From This Moment On" number. Although this MGM film should have put him on the movie map, it ended up being his swan song. Bobby would not make another film for over a decade.
With the "Golden Age" of MGM now officially a part of his past, Bobby was forced to look elsewhere for work. He kept a lower profile but remained busy in night clubs and worked as a choreographer, staging the musical numbers for two of Jerry Lewis' movie vehicles: The Ladies Man (1961) and It's Only Money (1962). He appeared regularly again on the screen (the smaller screen, that is) with a recurring role in the short-lived TV series Mickey (1964) starring old MGM pal Mickey Rooney. The two stars later worked together in night clubs.
Divorced in the early 1960s from musical actress Diane Garrett, Bobby married another performer, singer/comedienne Elaine Joyce, in 1968. The lovely couple appeared frequently together on such game shows as Tattletales (1974) and Match Game (1973). Game shows actually became a steady line of work for Bobby, and he wound up hosting a few of his own, including Showoffs (1975), The Fun Factory (1976) and Make Me Laugh (1979). On stage he was rejuvenated again when he co-starred in the successful revival of "No, No, Nanette" (1971) on Broadway starring Susan Watson and Tony winner Helen Gallagher. Bobby himself was nominated for a Tony and went on to hoof it up in the original musical "Doctor Jazz" (1975), as well as the more established "Mack and Mabel" (1975), "Anything Goes" (1977) and "Dames at Sea" (1978). In 1977 wife Elaine bore him a baby girl, Taylor.
Sadly, in 1979 Bobby was diagnosed with a malignant brain tumor. Although he underwent surgery to remove the tumor, the cancer came back. Ever the trouper, the "show went on" as he valiantly continued to perform despite his illness. He made his fourth and last appearance as host of the "Mrs. America Pageant" in June 1980. Bobby passed away a little more than a month later on July 31, 1980, at age 51. He is buried at Mt. Sinai Memorial Park in Burbank, California.- Actor
- Director
- Additional Crew
José Ferrer was a Puerto Rican actor and film director. He won an Academy Award for Best Actor for playing the title character in Cyrano de Bergerac (1950). Ferrer was the first Puerto Rican actor to win an Academy Award, and also the first Hispanic actor to win an Academy Award.
In 1912, Ferrer was born is San Juan, the capital city of Puerto Rico. Established as a Spanish colonial city in 1521, San Juan is the third oldest European-established capital city in the Americas, following Santo Domingo (established in 1496) and Panama City (established in 1521). Ferrer's father was Rafael Ferrer, a lawyer and author who was born and raised in San Juan. Ferrer's mother was María Providencia Cintrón, a native of the coastal town of Yabucoa. Ferrer's paternal grandfather was Dr. Gabriel Ferrer Hernández, who had campaigned for Puerto Rican independence from the Spanish Empire.
The Ferrer family moved to New York City in 1914, when José was 2-years-old. As a school student, Ferrer was educated abroad at the Institut Le Rosey, a prestigious boarding school located in Rolle, Switzerland. In 1933, Ferrer was enrolled at Princeton University, located in Princeton, New Jersey. He studied architecture, and wrote a senior thesis about French Naturalism and the literary works of Spanish naturalist writer Emilia Pardo Bazán (1851-1921). In 1934, Ferrer transferred to Columbia University, where he studied Romance languages.
In 1934, while still a college student, Ferrer made his theatrical debut in Long Island-based theatre. In 1935, he was hired as the stage manager at the Suffern Country Playhouse. Later in 1935, Ferrer made his Broadway debut in the comedy play "A Slight Case of Murder" by Damon Runyon (1880-1946) and Howard Lindsay (1889-1968). This stage production of the play ran for 69 performances, with Ferrer appearing in all of them.
Ferrer's major success as a Broadway actor was performing in the play "Brother Rat" by John Monks Jr. (1910-2004) and Fred F. Finklehoffe (1910-1977). The play had a ran of 577 performances from 1936 to 1938. Among his subsequent theatrical appearances, the most successful were staged productions of Mamba's Daughters (1938), which ran for 163 performances, and "Charley's Aunt" (1940-1941), which ran for 233 performances. His role in "Charley's Aunt" required him to perform in drag, for the first time in his career.
Ferrer had one of the greatest theatrical successes of his career when playing the villainous Iago in a Broadway production of "Othello' by William Shakespeare. The production had a ran of 296 performances, lasting from 1943 to 1944. Ferrer played his most famous role as the historical figure of Cyrano de Bergerac (1619-1655) in the 1946-1947 Broadway season. For this role, Ferrer won the 1947 Tony Award for Best Actor in a Play.
Ferrer made his film debut in the Technicolor epic "Joan of Arc" (1948). He played the historical monarch Charles VII of France (1403-1461, reigned 1422-1461), the ruler who Joan of Arc served during the Hundred Years' War. For his debut role, Ferrer was nominated for the Academy Award for Best Supporting Actor. The Award was instead won by rival actor Walter Huston (1883-1950).
Ferrer's success as a film actor, helped him gain more film roles in Hollywood-produced films. He played the "smooth-talking hypnotist David Korvo" in the film noir "Whirlpool" (1949), and dictator Raoul Farrago in the film noir "Crisis". He had a career highlight with a film adaptation of the play "Cyrano de Bergerac", where he played the title role. For this role, he won the Academy Award for Best Actor.
His next critically successful role was that of artist Henri de Toulouse-Lautrec (1864-1901) in the historical drama "Moulin Rouge" (1952). For this role, Ferrer was again nominated for the Academy Award for Best Actor. The award was instead won by rival actor Gary Cooper (1901-1961). The film also marked a financial success for Ferrer, who received 40% of the film's profits.
Ferrer also appeared in other box office hits of the 1950s, such as the musical "Miss Sadie Thompson" (1953), the Navy-themed drama "The Caine Mutiny" (1954), and the biographical film "Deep in My Heart" (1954). Ferrer was also interested in becoming a film director. He made his directing debut with the film noir "The Shrike" (1955). His subsequent directing efforts included war film "The Cockleshell Heroes" (1955), the film noir "The Great Man" (1956), the biographical film I Accuse! (1958), and the comedy film "The High Cost of Loving" (1958). While still critically well-received, several of these films were box office flops. He took a hiatus from films productions.
Ferrer attempted a comeback as a film director with the sequel film "Return to Peyton Place" (1961) and the musical film "State Fair" (1962). Both films were box office flops. As an actor, Ferrer had a supporting role as a Turkish Bey in the historical drama "Lawrence of Arabia" (1962). While a relatively minor role, Ferrer considered the finest role of his film career.
In television, Ferrer gained a notable role as the narrator in the pilot episode of the hit sitcom "Bewitched" (1964-1972). In films, Ferrer started playing mostly supporting roles. He briefly returned to the role of Cyrano de Bergerac in the French adventure film "Cyrano and d'Artagnan". He had another notable role as a historical monarch, playing Herod Antipas, Tetrarch of Galilee and Perea (reigned 4 BC-39 AD) in the Biblical epic "The Greatest Story Ever Told" (1965).
Ferrer had his first notable role as a voice actor, playing the villain Ben Haramed in the Rankin/Bass Christmas "The Little Drummer Boy" (1968). But at this time, he started having legal troubles. The Internal Revenue Service (IRS) accused Ferrer of still owing unpaid taxes since 1962.
Ferrer had many film roles in the 1970s, but no outstanding highlights. As a voice actor, he voiced Cyrano de Bergerac in an episode of "The ABC Afterschool Special". In the 1980s, Ferrer played a monarch again, playing Padishah Emperor Shaddam IV in the science fiction film "Dune". The film was an adaptation of the 1965 novel "Dune" by Frank Herbert (1920-1986), and Shaddam was one of the film's villains. This was among the last notable roles of Ferrer's long career.
Ferred retired from acting entirely in 1991, due to increasing health problems. His last theatrical performance was a production of the generation-gap drama "Conversations with My Father". Ferrer died in 1992, due to colorectal cancer. He was 80-years-old. He died in Coral Gables, Florida, but was buried in the Santa María Magdalena de Pazzis Cemetery of Old San Juan, Puerto Rico. Several of his children had acting careers of their own.- Actor
- Soundtrack
His father Geoffrey Kerr (b. 25 Jan 1895, London; d. 1971) and mother June Walker (b. 14 June 1904, New York City; d. 1966) were successful Broadway and, occasionally, film actors. He went into theatre as soon as he graduated from Harvard. He had an important role in the stage play "Bernadine" in 1952, and achieved real recognition for the sensitive lead part of Tom Robinson Lee in the 1953 stage production of "Tea and Sympathy", a role he recreated in the 1956 film version. Audiences found him touching in the tragic-hero role of Lieutenant Joe Cable in the 1958 musical South Pacific (1958). He became a practicing attorney but also made rare film/TV appearances.- Actor
- Second Unit Director or Assistant Director
- Director
Handsome and elegant George Peppard occasionally displayed considerable talent through his career, whether action roles or dramatic. Following Broadway and television experience, he made a strong film debut in The Strange One (1957). He started getting noticed when he played Robert Mitchum's illegitimate son in the popular melodrama Home from the Hill (1960). He then established himself as a leading man, giving arguably his most memorable film performance as Audrey Hepburn's love interest in Breakfast at Tiffany's (1961). Seen by the studios as a promising young star, Peppard was subsequently cast in some of the major blockbusters of the early/mid-1960s: How the West Was Won (1962), The Victors (1963), The Carpetbaggers (1964) and Operation Crossbow (1965). He reached the peak of his popularity in another such lavish production, The Blue Max (1966), in which he effectively played an obsessively competitive German flying officer during World War I.
However, by the late 1960s, he seemed to settle as a tough lead in more average, often hokum, adventures, including House of Cards (1968), Cannon for Cordoba (1970) and The Groundstar Conspiracy (1972). In the early 1970s, his declining popularity was temporarily boosted thanks to the television series Banacek (1972). With his film roles becoming increasingly uninteresting, he acted in, directed and produced the drama Five Days from Home (1978), but the result was rather disappointing. In the mid-1980s, he again obtained success on television as Colonel John "Hannibal" Smith, the cigar-chomping leader of The A-Team (1983). George Peppard died at age 65 of pneumonia on May 8, 1994 in Los Angeles, California. He is buried alongside his parents in Northview Cemetery in Dearborn, Michigan.- Actress
- Writer
- Producer
Shirley MacLaine was born Shirley MacLean Beaty in Richmond, Virginia. Her mother, Kathlyn Corinne (MacLean), was a drama teacher from Nova Scotia, Canada, and her father, Ira Owens Beaty, a professor of psychology and real estate agent, was from Virginia. Her brother, Warren Beatty, was born on March 30, 1937. Her ancestry includes English and Scottish.
Shirley was the tallest in her ballet classes at the Washington School of Ballet. Just after she graduated from Washington-Lee High School, she packed her bags and headed for New York. While auditioning for Richard Rodgers and Oscar Hammerstein II's "Me and Juliet", the producer kept mispronouncing her name. She then changed her name from Shirley MacLean Beaty to Shirley MacLaine. She later had a role in "The Pajama Game", as a member of the chorus and understudy to Carol Haney. A few months into the run, Shirley was going to leave the show for the lead role in "Can-Can" but ended up filling in for Haney, who had broken her ankle and could not perform. She would fill in for Carol, again, three months later, following another injury, the very night that movie producer Hal B. Wallis was in the audience. Wallis signed MacLaine to a five-year contract to Paramount Pictures. Three months later, she was off to shoot The Trouble with Harry (1955). She then took roles in Hot Spell (1958) and Around the World in 80 Days (1956), completed not too long before her daughter, Sachi Parker (born Stephanie), was born. With Shirley's career on track, she played one of her most challenging roles: "Ginny Moorhead" in Some Came Running (1958), for which she received her first Academy Award nomination for Best Actress. She went on to do The Sheepman (1958) and The Matchmaker (1958). In 1960, she got her second Academy Award nomination for The Apartment (1960). Three years later, she received a third nomination for Irma la Douce (1963). In 1969, she brought her friend Bob Fosse from Broadway to direct her in Sweet Charity (1969), from which she got her "signature" song, "If My Friends Could See Me Now". After a five-year hiatus, Shirley made a documentary on China called The Other Half of the Sky: A China Memoir (1975), for which she received an Oscar nomination for best documentary.
In 1977, she got her fourth Best Actress Oscar nomination for The Turning Point (1977). In 1979, she worked with Peter Sellers in Being There (1979), made shortly before his death. After 20 years in the film industry, she finally took home the Best Actress Oscar for Terms of Endearment (1983). After a five-year hiatus, Shirley made Madame Sousatzka (1988), a critical and financial hit that took top prize at the Venice Film Festival. In 1989, she starred with Dolly Parton, Sally Field and Julia Roberts in Steel Magnolias (1989). She received rave reviews playing Meryl Streep's mother in Postcards from the Edge (1990) and for Guarding Tess (1994). In 1996, she reprised her role from "Terms of Endearment" as "Aurora Greenway" in The Evening Star (1996), which didn't repeat its predecessor's success at the box office. In mid-1998, she directed Bruno (2000), which starred Alex D. Linz. In February 2001, Shirley worked with close friends once again in These Old Broads (2001), and co-starred with Julia Stiles in Carolina (2003) and with Kirstie Alley in Salem Witch Trials (2002).
MacLaine as her own website which includes her own radio show and interviews, the Encounter Board, and Independent Expression, a members-only section of the site. In the past few years, Shirley starred in a CBS miniseries based on the life of cosmetics queen Mary Kay Ash--Hell on Heels: The Battle of Mary Kay (2002), and wrote two more books, "The Camino" in 2001, and "Out On A Leash" in 2003. After taking a slight hiatus from motion pictures, Shirley returned with roles in the movies that were small, but wonderfully scene-stealing: Bewitched (2005) with Nicole Kidman and Will Ferrell, In Her Shoes (2005) with Cameron Diaz and Toni Collette, in which Shirley was nominated for a Golden Globe in the best supporting actress category, and Rumor Has It... (2005) with Jennifer Aniston and Kevin Costner. Shirley completed filming of Closing the Ring (2007), directed by Sir Richard Attenborough, in 2007. Her latest book is entitled "Sage-ing While Ag-ing"; Shirley's latest film is Valentine's Day (2010), which debuted in theaters on February 12, 2010.- Actor
- Producer
- Director
Jack Lemmon was born in Newton, Massachusetts, to Mildred Lankford Noel and John Uhler Lemmon, Jr., the president of a doughnut company. His ancestry included Irish (from his paternal grandmother) and English. Jack attended Ward Elementary near his Newton, MA home. At age 9 he was sent to Rivers Country Day School, then located in nearby Brookline. After RCDS, he went to high school at Phillips Andover Academy. Jack was a member of the Harvard class of 1947, where he was in Navy ROTC and the Dramatic Club. After service as a Navy ensign, he worked in a beer hall (playing piano), on radio, off Broadway, TV and Broadway. His movie debut was with Judy Holliday in It Should Happen to You (1954). He won Best Supporting Actor as Ensign Pulver in Mister Roberts (1955). He received nominations in comedy (Some Like It Hot (1959), The Apartment (1960)) and drama (Days of Wine and Roses (1962), The China Syndrome (1979), Tribute (1980) and Missing (1982)). He won the Best Actor Oscar for Save the Tiger (1973) and the Cannes Best Actor award for "Syndrome" and "Missing". He made his debut as a director with Kotch (1971) and in 1985 on Broadway in "Long Day's Journey into Night". In 1988 he received the Life Achievement Award of the American Film Institute.- Actor
- Director
- Producer
Walter Matthau was best known for starring in many films which included Charade (1963), The Odd Couple (1968), Grumpy Old Men (1993), and Dennis the Menace (1993). He often worked with Jack Lemmon and the two were Hollywood's craziest stars.
He was born Walter Jake Matthow in New York City, New York on October 1, 1920. His mother was an immigrant from Lithuania and his father was a Russian Jewish peddler and electrician from Kiev, Ukraine. As a young boy, Matthau attended a Jewish non-profit sleep-away camp. He also attended Surprise Lake Camp. His high school was Seward Park High School.
During World War II, Matthau served in the U.S. Army Air Forces with the Eighth Air Force in Britain as a Consolidated B-24 Liberator radioman-gunner, in the same 453rd Bombardment Group as James Stewart. He was based at RAF Old Buckenham, Norfolk during this time. He reached the rank of staff sergeant and became interested in acting.
Matthau appeared in the pilot of Mister Peepers (1952) alongside Wally Cox. He later appeared in the Elia Kazan classic, A Face in the Crowd (1957), opposite Patricia Neal and Andy Griffith, and then appeared in Lonely Are the Brave (1962), with Kirk Douglas, a film Douglas has often described as his personal favorite. Matthau then appeared in Charade (1963) with Audrey Hepburn and Cary Grant. In 1968, Matthau made his big screen appearance as Oscar Madison in The Odd Couple (1968) alongside Jack Lemmon. The two were also in the sequel (The Odd Couple II (1998)) as well as Grumpy Old Men (1993) and Grumpier Old Men (1995). Matthau was in Dennis the Menace (1993), alongside Mason Gamble. On July 1, 2000, Matthau died of a heart attack in Los Angeles, California. He was 79 years old.- Actor
- Director
- Writer
Anthony Perkins was born April 4, 1932 in New York City, to Janet Esselstyn (Rane) and Osgood Perkins, an actor of both stage and film. His father died when he was five. Anthony's paternal great-grandfather was engraver Andrew Varick Stout Anthony. Perkins attended the Brooks School, the Browne & Nichols School, Columbia University and Rollins College. He made his screen debut in The Actress (1953), and was nominated for a Best Supporting Actor Oscar Friendly Persuasion (1956). Four years later, he appeared in what would be his most noted role, Norman Bates in Psycho (1960), memorializing him into film history forever.- Actress
- Soundtrack
Born in Boise City, Oklahoma, Vera Miles attended school in Pratt, Kansas and Wichita, Kansas. The patrician beauty of Miss Miles won her the title of "Miss Kansas" in 1948, leading soon to small roles in Hollywood films and television series. Fame came to the forthright, spirited Miles when she attracted the attention of two master directors, Alfred Hitchcock and John Ford. Ford cast her in the classic western The Searchers (1956) and Hitchcock, who put her under personal contract and hailed her as his "new Grace Kelly", paired her with the great Henry Fonda in The Wrong Man (1956). Hitchcock cast Miles in the potentially star-making role of Judy Barton in Vertigo (1958), but Miles withdrew from the film when she became pregnant. Hitchcock gave Miles a supporting role in another masterpiece Psycho (1960), as did Ford when he cast her opposite John Wayne and James Stewart in The Man Who Shot Liberty Valance (1962), She also starred in such films as Beau James (1957) opposite Bob Hope, The FBI Story (1959) opposite Stewart, Back Street (1961) opposite Susan Hayward and John Gavin and Sergeant Ryker (1968) opposite Lee Marvin, as well as showing her consistently remarkable and versatile talent on dozens of popular television movies and series including The Alfred Hitchcock Hour (1962), The Twilight Zone (1959), The Outer Limits (1963), The Fugitive (1963), My Three Sons (1960), Bonanza (1959), Columbo (1971) and Murder, She Wrote (1984). In 1983, she reprised her role as "Lila Crane" in the film sequel Psycho II (1983), starring Anthony Perkins. Although, too often, the stunningly beautiful Miles' gifts were underutilized, before her retirement in 1995, hers was a most intriguing and enduring Hollywood career.- Actor
- Producer
- Stunts
He was the ultra-cool male film star of the 1960s, and rose from a troubled youth spent in reform schools to being the world's most popular actor. Over 40 years after his untimely death from mesothelioma in 1980, Steve McQueen is still considered hip and cool, and he endures as an icon of popular culture.
McQueen was born in Beech Grove, Indiana, to mother Julian (Crawford) and father William Terence McQueen, a stunt pilot. His first lead role was in the low-budget sci-fi film The Blob (1958), quickly followed by roles in The St. Louis Bank Robbery (1959) and Never So Few (1959). The young McQueen appeared as Vin, alongside Yul Brynner, in the star-laden The Magnificent Seven (1960) and effectively hijacked the lead from the bigger star by ensuring he was nearly always doing something in every shot he and Brynner were in together, such as adjusting his hat or gun belt. He next scored with audiences with two interesting performances, first in the World War II drama Hell Is for Heroes (1962) and then in The War Lover (1962). Riding a wave of popularity, McQueen delivered another crowd pleaser as Hilts, the Cooler King, in the knockout World War II P.O.W. film The Great Escape (1963), featuring his famous leap over the barbed wire on a motorcycle while being pursued by Nazi troops (in fact, however, the stunt was actually performed by his good friend, stunt rider Bud Ekins).
McQueen next appeared in several films of mixed quality, including Soldier in the Rain (1963); Love with the Proper Stranger (1963) and Baby the Rain Must Fall (1965). However, they failed to really grab audience attention, but his role as Eric Stoner in The Cincinnati Kid (1965), alongside screen legend Edward G. Robinson and Karl Malden, had movie fans filling theaters again to see the ice-cool McQueen they loved. He was back in another Western, Nevada Smith (1966), again with Malden, and then he gave what many consider to be his finest dramatic performance as loner US Navy sailor Jake Holman in the superb The Sand Pebbles (1966). McQueen was genuine hot property and next appeared with Faye Dunaway in the provocative crime drama The Thomas Crown Affair (1968), next in what many consider his signature role, that of a maverick, taciturn detective in the mega-hit Bullitt (1968), renowned for its famous chase sequence through San Francisco between McQueen's Ford Mustang GT and the killer's black Dodge Charger.
Interestingly, McQueen's next role was a total departure from the action genre, as he played Southerner Boon Hogganbeck in the family-oriented The Reivers (1969), based on the popular William Faulkner novel. Not surprisingly, the film didn't go over particularly well with audiences, even though it was an entertaining and well made production, and McQueen showed an interesting comedic side of his acting talents. He returned to more familiar territory, with the race film Le Mans (1971), a rather self-indulgent exercise, and its slow plot line contributed to its rather poor performance in theaters. It was not until many years later that it became something of a cult film, primarily because of the footage of Porsche 917s roaring around race tracks in France. McQueen then teamed up with maverick Hollywood director Sam Peckinpah to star in the modern Western Junior Bonner (1972), about a family of rodeo riders, and again with Peckinpah as bank robber Doc McCoy in the violent The Getaway (1972). Both did good business at the box office. McQueen's next role was a refreshing surprise and Papillon (1973), based on the Henri Charrière novel of the same name, was well received by fans and critics alike. He played a convict on a French penal colony in South America who persists in trying to escape from his captors and feels their wrath when his attempts fail.
The 1970s is a decade remembered for a slew of "disaster" movies and McQueen starred in arguably the biggest of the time, The Towering Inferno (1974). He shared equal top billing with Paul Newman and an impressive line-up of co-stars including Fred Astaire, Robert Vaughn and Faye Dunaway. McQueen does not appear until roughly halfway into the film as San Francisco fire chief Mike O'Halloran, battling to extinguish an inferno in a 138-story skyscraper. The film was a monster hit and set the benchmark for other disaster movies that followed. However, it was McQueen's last film role for several years. After a four-year hiatus he surprised fans, and was almost unrecognizable under long hair and a beard, as a rabble-rousing early environmentalist in An Enemy of the People (1978), based on the Henrik Ibsen play.
McQueen's last two film performances were in the unusual Western Tom Horn (1980), then he portrayed real-life bounty hunter Ralph "Papa' Thorson (Ralph Thorson) in The Hunter (1980). In 1978, McQueen developed a persistent cough that would not go away. He quit smoking cigarettes and underwent antibiotic treatments without improvement. Shortness of breath grew more pronounced and on December 22, 1979, after he completed work on 'The Hunter', a biopsy revealed pleural mesothelioma, a rare lung cancer associated with asbestos exposure for which there is no known cure. The asbestos was thought to have been in the protective suits worn in his race car driving days, but in fact the auto racing suits McQueen wore were made of Nomex, a DuPont fire-resistant aramid fiber that contains no asbestos. McQueen later gave a medical interview in which he believed that asbestos used in movie sound stage insulation and race-drivers' protective suits and helmets could have been involved, but he thought it more likely that his illness was a direct result of massive exposure while removing asbestos lagging from pipes aboard a troop ship while in the US Marines.
By February 1980, there was evidence of widespread metastasis. While he tried to keep the condition a secret, the National Enquirer disclosed that he had "terminal cancer" on March 11, 1980. In July, McQueen traveled to Rosarito Beach, Mexico for an unconventional treatment after American doctors told him they could do nothing to prolong his life. Controversy arose over McQueen's Mexican trip, because McQueen sought a non-traditional cancer treatment called the Gerson Therapy that used coffee enemas, frequent washing with shampoos, daily injections of fluid containing live cells from cows and sheep, massage and laetrile, a supposedly "natural" anti-cancer drug available in Mexico, but not approved by the US Food and Drug Administration. McQueen paid for these unconventional medical treatments by himself in cash payments which was said to have cost an upwards of $40,000 per month during his three-month stay in Mexico. McQueen was treated by William Donald Kelley, whose only medical license had been (until revoked in 1976) for orthodontics.
McQueen returned to the United States in early October 1980. Despite metastasis of the cancer through McQueen's body, Kelley publicly announced that McQueen would be completely cured and return to normal life. McQueen's condition soon worsened and "huge" tumors developed in his abdomen. In late October, McQueen flew to Ciudad Juarez, Chihuahua, Mexico to have an abdominal tumor on his liver (weighing around five pounds) removed, despite warnings from his American doctors that the tumor was inoperable and his heart could not withstand the surgery. McQueen checked into a Juarez clinic under the alias "Sam Shepard" where the local Mexican doctors and staff at the small, low-income clinic were unaware of his actual identity.
Steve McQueen passed away on November 7, 1980, at age 50 after the cancer surgery which was said to be successful. He was cremated and his ashes were scattered at sea. He married three times and had a lifelong love of motor racing, once remarking, "Racing is life. Anything before or after is just waiting.".- The archetypal screen tough guy with weatherbeaten features--one film critic described his rugged looks as "a Clark Gable who had been left out in the sun too long"--Charles Bronson was born Charles Buchinsky, one of 15 children of struggling parents in Pennsylvania. His mother, Mary (Valinsky), was born in Pennsylvania, to Lithuanian parents, and his father, Walter Buchinsky, was a Lithuanian immigrant coal miner.
He completed high school and joined his father in the mines (an experience that resulted in a lifetime fear of being in enclosed spaces) and then served in WW II. After his return from the war, Bronson used the GI Bill to study art (a passion he had for the rest of his life), then enrolled at the Pasadena Playhouse in California. One of his teachers was impressed with the young man and recommended him to director Henry Hathaway, resulting in Bronson making his film debut in You're in the Navy Now (1951).
He appeared on screen often early in his career, though usually uncredited. However, he made an impact on audiences as the evil assistant to Vincent Price in the 3-D thriller House of Wax (1953). His sinewy yet muscular physique got him cast in action-type roles, often without a shirt to highlight his manly frame. He received positive notices from critics for his performances in Vera Cruz (1954), Target Zero (1955) and Run of the Arrow (1957). Indie director Roger Corman cast him as the lead in his well-received low-budget gangster flick Machine-Gun Kelly (1958), then Bronson scored the lead in his own TV series, Man with a Camera (1958). The 1960s proved to be the era in which Bronson made his reputation as a man of few words but much action.
Director John Sturges cast him as half Irish/half Mexican gunslinger Bernardo O'Reilly in the smash hit western The Magnificent Seven (1960), and hired him again as tunnel rat Danny Velinski for the WWII POW big-budget epic The Great Escape (1963). Several more strong roles followed, then once again he was back in military uniform, alongside Lee Marvin and Ernest Borgnine in the testosterone-filled The Dirty Dozen (1967).
European audiences had taken a shine to his minimalist acting style, and he headed to the Continent to star in several action-oriented films, including Guns for San Sebastian (1968) (aka "Guns for San Sebastian"), the cult western Once Upon a Time in the West (1968) (aka "Once Upon a Time in The West"), Rider on the Rain (1970) (aka "Rider On The Rain") and, in one of the quirkier examples of international casting, alongside Japansese screen legend Toshirô Mifune in the western Red Sun (1971) (aka "Red Sun").
American audiences were by now keen to see Bronson back on US soil, and he returned triumphantly in the early 1970s to take the lead in more hard-edged crime and western dramas, including The Valachi Papers (1972) and the revenge western Chato's Land (1972). After nearly 25 years as a working actor, he became an 'overnight" sensation. Bronson then hooked up with British director Michael Winner to star in several highly successful urban crime thrillers, including The Mechanic (1972) and The Stone Killer (1973). He then scored a solid hit as a Colorado melon farmer-done-wrong in Richard Fleischer's Mr. Majestyk (1974). However, the film that proved to be a breakthrough for both Bronson and Winner came in 1974 with the release of the controversial Death Wish (1974) (written with Henry Fonda in mind, who turned it down because he was disgusted by the script).
The US was at the time in the midst of rising street crime, and audiences flocked to see a story about a mild-mannered architect who seeks revenge for the murder of his wife and rape of his daughter by gunning down hoods, rapists and killers on the streets of New York City. So popular was the film that it spawned four sequels over the next 20 years.
Action fans could not get enough of tough guy Bronson, and he appeared in what many fans--and critics--consider his best role: Depression-era street fighter Chaney alongside James Coburn in Hard Times (1975). That was followed by the somewhat slow-paced western Breakheart Pass (1975) (with wife Jill Ireland), the light-hearted romp (a flop) From Noon Till Three (1976) and as Soviet agent Grigori Borsov in director Don Siegel's Cold War thriller Telefon (1977).
Bronson remained busy throughout the 1980s, with most of his films taking a more violent tone, and he was pitched as an avenging angel eradicating evildoers in films like the 10 to Midnight (1983), The Evil That Men Do (1984), Assassination (1987) and Kinjite: Forbidden Subjects (1989). Bronson jolted many critics with his forceful work as murdered United Mine Workers leader Jock Yablonski in the TV movie Act of Vengeance (1986), gave a very interesting performance in the Sean Penn-directed The Indian Runner (1991) and surprised everyone with his appearance as compassionate newspaper editor Francis Church in the family film Yes Virginia, There Is a Santa Claus (1991).
Bronson's final film roles were as police commissioner Paul Fein in a well-received trio of crime/drama TV movies Family of Cops (1995), Breach of Faith: A Family of Cops II (1997) and Family of Cops III: Under Suspicion (1999). Unfortunately, ill health began to take its toll; he suffered from Alzheimer's disease for the last few years of his life, and finally passed away from pneumonia at Los Angeles' Cedars-Sinai Medical Center in August 2003.
Bronson was a true icon of international cinema; critics had few good things to say about his films, but he remained a fan favorite in both the US and abroad for 50 years, a claim few other film legends can make. - Actor
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Exotic leading man of American films, famed as much for his completely bald head as for his performances, Yul Brynner masked much of his life in mystery and outright lies designed to tease people he considered gullible. It was not until the publication of the books "Yul: The Man Who Would Be King" and "Empire and Odyssey" by his son, Yul "Rock" Brynner, that many of the details of Brynner's early life became clear.
Yul sometimes claimed to be a half-Swiss, half-Japanese named Taidje Khan, born on the island of Sakhalin; in reality, he was the son of Marousia Dimitrievna (Blagovidova), the Russian daughter of a doctor, and Boris Yuliyevich Bryner, an engineer and inventor of Swiss-German and Russian descent. He was born in their home town of Vladivostok on 11 July 1920 and named Yuli after his grandfather, Jules Bryner. When Yuli's father abandoned the family, his mother took him and his sister Vera to Harbin, Manchuria, where they attended a YMCA school. In 1934 Yuli's mother took her children to Paris. Her son was sent to the exclusive Lycée Moncelle, but his attendance was spotty. He dropped out and became a musician, playing guitar in the nightclubs among the Russian gypsies who gave him his first real sense of family. He met luminaries such as Jean Cocteau and became an apprentice at the Theatre des Mathurins. He worked as a trapeze artist with the famed Cirque d'Hiver company.
He traveled to the U.S. in 1941 to study with acting teacher Michael Chekhov and toured the country with Chekhov's theatrical troupe. That same year, he debuted in New York as Fabian in "Twelfth Night" (billed as Youl Bryner). After working in a very early TV series, Mr. Jones and His Neighbors (1944), he played on Broadway in "Lute Song" with Mary Martin, winning awards and mild acclaim. He and his wife, actress Virginia Gilmore, starred in the first TV talk show, Mr. and Mrs. (1948). Brynner then joined CBS as a television director. He made his film debut in Port of New York (1949). Two years later Mary Martin recommended him for the part he would forever be known for: the King in Richard Rodgers' and Oscar Hammerstein II's musical "The King and I". Brynner became an immediate sensation in the role, repeating it for film (The King and I (1956)) and winning the Oscar for Best Actor.
For the next two decades, he maintained a starring film career despite the exotic nature of his persona, performing in a wide range of roles from Egyptian pharaohs to Western gunfighters, almost all with the same shaved head and indefinable accent. In the 1970s he returned to the role that had made him a star, and spent most of the rest of his life touring the world in "The King and I". When he developed lung cancer in the mid 1980s, he left a powerful public service announcement denouncing smoking as the cause, for broadcast after his death. The cancer and its complications, after a long illness, ended his life. Brynner was cremated and his ashes buried in a remote part of France, on the grounds of the Abbey of Saint-Michel de Bois Aubry, a short distance outside the village of Luzé. He remains one of the most fascinating, unusual and beloved stars of his time.- Actress
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Jean Dorothy Seberg was born in Marshalltown, Iowa, to substitute teacher Dorothy Arline (Benson) and pharmacist Edward Waldemar Seberg. Her father was of Swedish descent and her mother was of English and German ancestry.
One month before her 18th birthday, Jean landed the title role in Otto Preminger's Saint Joan (1957) after a much-publicized contest involving some 18,000 hopefuls. The failure of that film and the only moderate success of her next, Bonjour Tristesse (1958), combined to stall Seberg's career, until her role in Jean-Luc Godard's landmark feature, Breathless (1960), brought her renewed international attention. Seberg gave a memorable performance as a schizophrenic in the title role of Robert Rossen's Lilith (1964) opposite Warren Beatty and went on to appear in over 30 films in Hollywood and Europe.
In the late 1960s, Seberg became involved in anti-war politics and was the target of an undercover campaign by the FBI to discredit her because of her association with several members of the Black Panther party. She was found dead under mysterious circumstances in Paris in 1979.- Actor
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The son of the renowned French sculptor Paul Belmondo, he studied at Conservatoire National Superieur d'Art Dramatique (CNSAD); after the minor stage performances he made his screen debut in À pied, à cheval et en voiture (1957) but the episodes with his participation were cut before release. However, the breakthrough role in Jean-Luc Godard's Breathless (1960) made him one of the key figures in the French New Wave. Since mid-60s he completely switched to commercial mainstream pictures and became a big comedy and action star in France. Following the example of Alain Delon he founded his own production company Cerito named after his grandmother's maiden name. In 1989 he was awarded Cesar for his performance in Itinerary of a Spoiled Child (1988) . Recently he returned to stage performing in the Théâtre Marigny, Paris, notably as Edmund Kean or Cyrano de Bergerac. He still appears in the movies but not so often as before preferring mostly dramatic roles. The president of France distinguished him with order of Legion of Honour. Belmondo had three children with his first spouse Elodie Constant: Patricia Belmondo ( who died in a fire in 1993), Florence Belmondo and Paul Belmondo. In 2003, he had another daughter, Stella Belmondo, with his second spouse Natty Belmondo. None of his children became actors though you could have seen his son Paul in an episodic role (the same as his father, at an earlier age) in Itinerary of a Spoiled Child (1988).- Actor
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Marcello Mastroianni was born in Fontana Liri, Italy in 1924, but soon his family moved to Turin and then Rome. During WW2 he was sent to a German prison camp, but he managed to escape and hide in Venice. He debuted in films as an extra in Marionette (1939), then started working for the Italian department of "Eagle Lion Films" in Rome and joined a drama club, where he was discovered by director Luchino Visconti. In 1957 Visconti gave him the starring part in his Fyodor Dostoevsky adaptation White Nights (1957) and in 1958 he was fine as a little thief in Mario Monicelli's comedy Big Deal on Madonna Street (1958). But his real breakthrough came in 1960, when Federico Fellini cast him as an attractive, weary-eyed journalist of the Rome jet-set in La Dolce Vita (1960); that film was the genesis of his "Latin lover" persona, which Mastroianni himself often denied by accepting parts of passive and sensitive men. He would again work with Fellini in several major films, like the exquisite 8½ (1963) (as a movie director who finds himself at a point of crisis) and the touching Ginger & Fred (1986) (as an old entertainer who appears in a TV show). He also appeared as a tired novelist with marital problems in Michelangelo Antonioni's La Notte (1961), as an impotent young man in Mauro Bolognini's Bell' Antonio (1960) , as an exiled prince in John Boorman's Leo the Last (1970), as a traitor in Paolo and Vittorio Taviani's Allonsanfan (1974) and as a sensitive homosexual in love with a housewife in Ettore Scola's A Special Day (1977). He was nominated for the Academy Award for Best Actor three times, for Divorce Italian Style (1961), A Special Day (1977), and Oci ciornie (1987). During the last decade of his life he worked with directors, like Theodoros Angelopoulos, Bertrand Blier and Raúl Ruiz, who gave him three excellent parts in Three Lives and Only One Death (1996). He died of pancreatic cancer in 1996.- Actress
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Kerstin Anita Marianne Ekberg was born on September 29, 1931 in Malmo, Sweden. Growing up with seven brothers and sisters was not an adventure, but Anita's adventure began when she was elected Miss Sweden in 1950. She did not win the Miss Universe contest but she got a modeling contract in the United States. She quickly got a film contract with Howard Hughes's RKO that did not lead anywhere (but Anita herself has said that Hughes wanted to marry her). Instead, she started making movies with Universal, small roles that more often than not only required her to look beautiful. After five years in Hollywood, she found herself in Rome, where Federico Fellini's La Dolce Vita (1960) meant her breakthrough. She stayed in Italy and made around 20 movies during the next ten years, some roles memorable, some to be forgotten. Her two marriages gave her a great deal of attention from the press. During the 1970s, the roles became less frequent, but she made a marvellous comeback with Fellini's Intervista (1987).
Anita Ekberg retired from acting in 2002 after 50 years in the motion picture industry. In December 2011, she was destitute following three months in a hospital with a broken thigh in Rimini, during which her home was robbed of jewelry and furniture, and her villa was badly damaged in a fire. Ekberg applied for help from the Fellini Foundation, which also found itself in difficult financial straits. She died at age 83 from complications of an enduring illness on January 11, 2015 at the clinic San Raffaele in Rocca di Papa, Italy. Ekberg had a new film project with exclusively female Italian producer "Le Bestevem", in which her character, as movie star, should have been recovered again as an icon of the silver screen, a project that was interrupted by her death.
Her funeral was held on January 14, 2015, at the Lutheran-Evangelical Christuskirche in Rome, after which her body was cremated and her remains were buried at the cemetery of Skanor Church in Sweden.- Actress
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Brigitte Bardot was born on September 28, 1934 in Paris, France. Her father had an engineering degree and worked with his father in the family business. Brigitte's mother encouraged her daughter to take up music and dance, and she proved to be very adept at it. By the time she was 15, Brigitte was trying a modeling career, and found herself in the French magazine "Elle". Her incredible beauty readily apparent, Brigitte next tried films. In 1952, she appeared on screen for the first time as Javotte Lemoine in Crazy for Love (1952). Two more films followed and it was also the same year she married Roger Vadim (the union lasted 3½ years). Capitalizing on her success in French films, Brigitte made her first American production in Act of Love (1953) with Kirk Douglas, but she continued to make films in France. Brigitte's explosive sexuality took the United States by storm, and the effect she had on millions of American men who had not seen a woman like her in a long, long time--if ever--was electric. Rise to the phrase "sex kitten" and fascination of her in the United States consisted of magazines photographs and dubbed over French films--good, bad or indifferent, her films drew audiences--mainly men--into theaters like lemmings. In 1965, she appeared as herself in the American-made Dear Brigitte (1965) with James Stewart (she only appeared in one scene). Just before she turned 40, Brigitte retired from movies after filming The Edifying and Joyous Story of Colinot (1973). She prefers life outside of stardom. While it enabled her to become internationally famous, it also carried with it annoyances. It was not anything for her to have "fans" enter her house or wander around the grounds of her home in the hopes of getting a glimpse of her or to take something that belonged to her. Paparazzi constantly hounded her with their cameras. She has been so soft-hearted that some people even have taken advantage of her generosity. After her life in the spotlight, Brigitte went on to become a leading spokesperson for animal rights and started the "Foundation Brigitte Bardot" dedicated solely to that cause. Her work in that realm is, perhaps, far greater than any film she could have made. Brigitte has been married to Bernard d'Ormale since 1992 and they reside in St. Tropez with their nearly 50 pets.- Music Artist
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Martin was born Dino Paul Crocetti in Steubenville, Ohio, to Gaetano Alfonso "Guy" Crocetti, an Italian immigrant and barber, and his Ohio-born wife, Angela (Barra) Crocetti. He spoke only Italian until age five. Martin came up the hard way, with such jobs as a boxer ("Kid Crochet"), a steel mill worker, a gas station worker and a casino croupier/dealer. In 1946, Martin got his first ticket to stardom, as he teamed up with another hard worker who was also trying to succeed in Hollywood: Jerry Lewis. Films such as At War with the Army (1950) sent the team toward super-stardom. The duo were to become one of Hollywood's truly great teams. They lasted 11 years together, and starred in 16 movies. They were unstoppable, but personality conflicts broke up the team. Even without Lewis, Martin was a true superstar.
Few thought that Martin would go on to achieve solo success, but he did, winning critical acclaim for his role in The Young Lions (1958) with Marlon Brando and Montgomery Clift, and Some Came Running (1958), with Shirley MacLaine and Frank Sinatra. Movies such as Rio Bravo (1959) brought him international fame. One of his best remembered films is in Ocean's Eleven (1960), in which he played Sam Harmon alongside the other members of the legendary Rat Pack: Frank Sinatra, Sammy Davis Jr., Joey Bishop and Peter Lawford. Martin proved potent at the box office through the 1960s, with films such as Bells Are Ringing (1960) and Robin and the 7 Hoods (1964), again with Rat Pack pals Sammy Davis Jr. and Sinatra. During much of the 1960s and 1970s, his film persona of a boozing playboy prompted a series of films as secret agent Matt Helm and his own television variety show. Airport (1970) followed, featuring Martin as a pilot. He played a phony priest in The Cannonball Run (1981).
In 1965, Martin explored a new method for entertaining his fans: Television. That year he hosted one of the most successful TV series in history: The Dean Martin Show (1965), which lasted until 1973. In 1965, it won a Golden Globe Award. In 1973, he renamed it "The Dean Martin Comedy Hour", and from 1974 to 1984 it was renamed again, this time "The Dean Martin Celebrity Roasts". It became one of the most successful TV series in history, skewering such greats as Bob Hope, Frank Sinatra, Lucille Ball, James Stewart, George Burns, Milton Berle, Don Rickles, Phyllis Diller, and Joe Namath.
His last public role was a return to the stage, for a cross-country concert tour with Davis and Sinatra. He spoke affectionately of his fellow Rat Packers. "The satisfaction that I get out of working with these two bums is that we have more laughs than the audience has", Martin said. After the 1980s, Martin took it easy until his son, Dean Paul Martin, was killed in a plane crash in March 1987.
Devastated by the loss, from which he never recovered, he walked out on a reunion tour with Sinatra and Davis. Martin spent his final years in solitude, out of the public light. A heavy smoker most of his life, Martin died on Christmas Day 1995 at age 78 from complications to lung cancer.- Actor
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Jerry Lewis (born March 16, 1926 - August 20, 2017) was an American comedian, actor, singer, film producer, screenwriter and film director. He is known for his slapstick humor in film, television, stage and radio. He was originally paired up with Dean Martin in 1946, forming the famed comedy team of Martin and Lewis. In addition to the duo's popular nightclub work, they starred in a successful series of comedy films for Paramount Pictures. Lewis was also known for his charity fund-raising telethons and position as national chairman for the Muscular Dystrophy Association (MDA). Lewis won several awards for lifetime achievements from The American Comedy Awards, Los Angeles Film Critics Association, and Venice Film Festival, and he had two stars on the Hollywood Walk of Fame. In 2005, he received the Governors Award of the Academy of Television Arts & Sciences Board of Governors, which is the highest Emmy Award presented. On February 22, 2009, the Academy of Motion Picture Arts and Sciences awarded Lewis the Jean Hersholt Humanitarian Award.
Jerry died on August 20, 2017, in Las Vegas.- Actress
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An intelligent, slender leading lady of the 1960s and 70s, Yvette Carmen Mimieux was born in Hollywood, California, to Maria (Montemayor) and René Mimieux, an occasional movie extra. Her father was born in England, of French and German descent, and her mother was Mexican. While she was first persuaded to go into acting by a Hollywood publicist, her discovery for the screen can be attributed to the director Vincente Minnelli who saw her perform in a play and decided to cast her in his melodrama Home from the Hill (1960). Though Yvette's small role ended up on the cutting room floor, MGM producers were sufficiently impressed with her looks to sign her under a long term contract. Her first role of note, Platinum High School (1960), won her a Golden Globe nomination as Most Promising Newcomer. She was then properly 'launched' with the part of Weena, the naive Eloi cave girl, in George Pal's version of The Time Machine (1960). This turned out to be one of the studio's biggest box office winners of 1960. That same year, Mimieux also played a carefree collegian in Where the Boys Are (1960), a teen comedy (with serious undertones) dealing with adolescent sexuality. Both of her performances were well received by critics, but also set the trend for the actress to become typed either as fragile or insecure characters, or as sex kittens.
After a two year hiatus, Mimieux gave a genuinely compelling performance as Clara Johnson, a retarded girl who captures the affections of a young Italian in Light in the Piazza (1962). Though disliking the film, New York Times critic Bosley Crowther described Clara as "played with sunshine radiance and rapturous grace." Having essayed more conventional heroines in Diamond Head (1962) (sister of blustering land baron), The Reward (1965) (a fugitive's girlfriend) and Dark of the Sun (1968) (girl caught up with mercenaries in the Congo), Mimieux began to concentrate on TV movies which gave her the opportunity to further expand her dramatic range. Her contract killer in Hit Lady (1974) and the unhinged stalker in Obsessive Love (1984) were based, respectively, on her own screenplay and story. Probably her last role of note was as the victim of a harrowing chain of events in Jackson County Jail (1976), a downbeat exploitation drama produced by Roger Corman's New World Pictures. In 1985, Mimieux had a recurring role in Berrenger's (1985), a glossy soap opera set in a luxurious department store. The series lasted just one season before being canceled. Though ultimately nominated for three Golden Globes, Mimieux came to bemoan the fact that scriptwriters of the period tended to depict women as 'one-dimensional'.
In 1992, Mimieux left the acting profession to form a partnership with Sara Shane (another ex-MGM contract player) in a Los Angeles-based enterprise called "Partners in Paradise", selling embroidered tapestries, bedspreads and pillows based on Haitian designs. She subsequently went on to find even more lucrative opportunities in real estate. In her spare time, Mimieux traveled extensively, painted and studied archaeology. At the time of her death at the age of 80, she was married to Howard F. Ruby, founder and chairman of Oakwood Worldwide, a large global corporation providing furnished apartments.- Actor
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Jack Nicholson, an American actor, producer, director and screenwriter, is a three-time Academy Award winner and twelve-time nominee. Nicholson is also notable for being one of two actors - the other being Michael Caine - who have received an Oscar nomination in every decade from the '60s through the '00s.
Nicholson was born on April 22, 1937, in Neptune, New Jersey. He was raised believing that his grandmother was his mother, and that his mother, June Frances Nicholson, a showgirl, was his older sister. He discovered the truth in 1975 from a Time magazine journalist who was researching a profile on him. His real father is believed to have been either Donald Furcillo, an Italian American showman, or Eddie King (Edgar Kirschfeld), born in Latvia and also in show business. Jack's mother's ancestry was Irish, and smaller amounts of English, German, Scottish, and Welsh.
Nicholson made his film debut in a B-movie titled The Cry Baby Killer (1958). His rise in Hollywood was far from meteoric, and for years, he sustained his career with guest spots in television series and a number of Roger Corman films, including The Little Shop of Horrors (1960).
Nicholson's first turn in the director's chair was for Drive, He Said (1971). Before that, he wrote the screenplay for The Trip (1967), and co-wrote Head (1968), a vehicle for The Monkees. His big break came with Easy Rider (1969) and his portrayal of liquor-soaked attorney George Hanson, which earned Nicholson his first Oscar nomination. Nicholson's film career took off in the 1970s with a definitive performance in Five Easy Pieces (1970). Nicholson's other notable work during this period includes leading roles in Roman Polanski's noir masterpiece Chinatown (1974) and One Flew Over the Cuckoo's Nest (1975), for which he won his first Best Actor Oscar.
The 1980s kicked off with another career-defining role for Nicholson as Jack Torrance in Stanley Kubrick's adaptation of Stephen King's novel The Shining (1980). A string of well-received films followed, including Terms of Endearment (1983), which earned Nicholson his second Oscar; Prizzi's Honor (1985), and The Witches of Eastwick (1987). He portrayed another renowned villain, The Joker, in Tim Burton's Batman (1989). In the 1990s, he starred in such varied films as A Few Good Men (1992), for which he received another Oscar nomination, and a dual role in Mars Attacks! (1996).
Although a glimpse at the darker side of Nicholson's acting range reappeared in The Departed (2006), the actor's most recent roles highlight the physical and emotional complications one faces late in life. The most notable of these is the unapologetically misanthropic Melvin Udall in As Good as It Gets (1997), for which he won his third Oscar. Shades of this persona are apparent in About Schmidt (2002), Something's Gotta Give (2003), and The Bucket List (2007). In addition to his Academy Awards and Oscar nominations, Nicholson has seven Golden Globe Awards, and received a Kennedy Center Honor in 2001. He also became one of the youngest actors to receive the American Film Institute's Life Achievement award in 1994.
Nicholson has six children by five different women: Jennifer Nicholson (b. 1963) from his only marriage to Sandra Knight, which ended in 1966; Caleb Goddard (b. 1970) with Five Easy Pieces (1970) co-star Susan Anspach, who was automatically adopted by Anspach's then-husband Mark Goddard; Honey Hollman (b. 1982) with Danish supermodel Winnie Hollman; Lorraine Nicholson (b. 1990) and Ray Nicholson (b. 1992) with minor actress Rebecca Broussard; and Tessa Gourin (b. 1994) with real estate agent Jennine Marie Gourin. Nicholson's longest relationship was the 17 nonmonogamous years he spent with Anjelica Huston; this ended when Broussard announced she was pregnant with his child.- Actor
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Alain Fabien Maurice Marcel Delon was born in Sceaux, Hauts-de-Seine, France, to Édith (Arnold) and Fabien Delon. His father was of French and Corsican Italian descent, and his mother was of French and German ancestry. His parents divorced early on, and Delon had a stormy childhood, being frequently expelled from school.
In 1953/1954 he served with the French Marines in Indochina. In the mid-'50s he worked at various odd jobs including waiter, salesman and porter in Les Halles market. He decided to try an acting career and in 1957 made his film debut in Yves Allégret's Quand la femme s'en mêle (1957). He declined an offer of a contract from producer David O. Selznick, and in 1960 he received international recognition for his role in Luchino Visconti's Rocco and His Brothers (1960). In 1961 he appeared on the stage in "'Tis a Pity She's a Whore", directed by Visconti, in Paris. In 1964 he formed his own production company, Delbeau Productions, and he produced a short film directed by Guy Gilles. In 1968 he found himself involved in murder, drug and sex scandal that indirectly implicated major politicians and show-business personalities, but he was eventually cleared of all charges. In the late 1960s he formed another company. Adel Film, and the next year he began producing features. In 1981 he directed his first film, To Kill a Cop (1981).
Delon was a sensation early in his career; he came to embody the young, energetic, often morally corrupted man. With his breathtaking good looks he was also destined to play tender lovers and romantic heroes, and he was a French embodiment of the type created in America by James Dean. His first outstanding success came with the role of the parasite Tom Ripley in 'Rene Clement''s sun-drenched thriller Purple Noon (1960). Delon presented a psychological portrait of a murderous young cynic who attempts to take on the identity of his victim. A totally different role was offered to him by Visconti in Rocco and His Brothers (1960). In this film Delon plays the devoted Rocco, who accepts the greatest sacrifices to save his shiftless brother Simon.
After several other films in Italy, Delon returned to the criminal genre with Jean Gabin in Any Number Can Win (1963). This work, a classic example of the genre, was distinguished not only by a soundly worked-out screenplay, but also by the careful production and the excellent performances of both Delon and Gabin. It was only in the late 1960s that the sleek and lethal Delon came to epitomize the calm, psychopathic hoodlum, staring into the camera like a cat assessing a mouse. His tough, ruthless side was first used to real effect by Jean-Pierre Melville in The Samurai (1967). In 1970 he had a huge success in the bloodstained Borsalino (1970)--which he also produced--playing a small-time gangster in the 1930s who, with Jean-Paul Belmondo, becomes king of the Marseilles underworld. Delon later won critical acclaim for his roles, against type, in Joseph Losey's Mr. Klein (1976) in which he played (brilliantly) the icily sinister title role, and the art-movie Swann in Love (1984). He has an older son Anthony Delon (who has also acted in a number of movies) from his first marriage to Nathalie Delon, and has a young son and daughter, Alain-Fabien and Anouchka with Rosalie.- Actress
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Blonde and blue-eyed with an attractively feline appeal, Carol Lynley began her professional career as Carolyn Lee. She learned ballet at age seven, became a successful child model at age 10 (eventually working for the Sears & Roebuck department store in New York), and got her face nationally recognized as "the Coca-Cola Girl."
Carole Ann Jones was born in New York City to Frances Fuller (Felch) from New England and Irish immigrant Cyril Roland Jones. Trying to branch out into acting early on, in New York City, to Frances Fuller (Felch), from New England, and Cyril Roland Jones, who was an Irish immigrant. Trying to branch out into acting early on, Carol discovered that another individual by that name, born seven years earlier, was already on the books of Actors' Equity, so Carolyn fused "lyn" and "lee" to create 'Lynley'. From age 15 she appeared on Broadway, played juvenile roles in early anthology television, and was featured on the cover of Life Magazine in April 1957. Her first important film roles came in decidedly wholesome fare, beginning with The Light in the Forest (1958) for Walt Disney Productions, in which she played indentured servant Shenandoe. It was a promising start. A New York Times reviewer praised her performance (alongside that of fellow screen newbie James MacArthur), describing both as "real charmers with more than their share of talent." Thrust once more into the limelight, Lynley reprised her earlier Broadway role in the film version of Blue Denim (1959) as a naive girl who becomes pregnant and ponders having an illegal abortion. This performance got her nominated for a Golden Globe Award as Most Promising Newcomer in 1959. That same year, she graduated with a diploma from New York's School for Young Professionals. Lynley went on to play other ingénues and troubled teens before shedding her wholesome image by the early 1960s.
Return to Peyton Place (1961) headlined the actress as a best-selling novelist who controversially reveals the town's darkest secrets and scandals. This was followed by the bawdy (and mostly irritating) sex farce Under the Yum Yum Tree (1963), with Lynley as a virginal college student in a New York apartment block pursued by a lecherous landlord/playboy (played by Jack Lemmon). Luckily, better opportunities to prove her acting mettle turned up with a double role in The Cardinal (1963) (opposite Tom Tryon), and as the tormented mother of a kidnapped child in the superior psychological thriller Bunny Lake Is Missing (1965), directed by Otto Preminger and co-starring Laurence Olivier. Cinema magazine commented "With a face like that of a fallen angel, Carol Lynley has beauty that is often awe inspiring".
In March 1965, the former teen queen posed nude for an issue of Playboy magazine; later that year she played the title role in a turgid biopic of 1930s Hollywood sex symbol Jean Harlow. While the quality of her films tended to decline after the mid-'60s, there were still entertaining moments in B-pictures like The Shuttered Room (1967) and Once You Kiss a Stranger... (1969) (in this lurid thriller, Lynley rose above her material and was memorable in the role of a psychotic murderess). In Irwin Allen's The Poseidon Adventure (1972), she was merely one of the ill-fated passengers who ended up in Davy Jones' Locker. Still, Variety called her performance "especially effective". After 1967, television provided most of her work, including guest spots in seminal shows like Mannix (1967), The Invaders (1967), Hawaii Five-O (1968) and as co-star of the TV pilot for The Night Stalker (1972) (as Carl Kolchak's girlfriend). In her penultimate role, Lynley played a grandmother in a film titled uncannily similar to the one which had launched her career: A Light in the Forest (2003).
Carol Lynley retired from the screen in 2006. A highly capable actress who should have made a bigger splash in Hollywood, she passed away on September 3, 2019 in Pacific Palisades, California from a heart attack. She was 77.- Actress
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Carolyn Sue Jones was born in 1930, in Amarillo, Texas, to homemaker Chloe (or Cloe) Jeanette Southern (1906-1979), and Julius Alfred Jones (1897-1979), a barber. Her sister was Bette (later Mrs. Moriarty). Carolyn was an imaginative child, much like her mother; she and her mother shared the same birthday (April 28).
In 1934, her father abandoned the family and her mother moved them in with her own parents, also in Amarillo. As a child, Carolyn suffered from severe asthma. Although she loved movies, she was often too sick to attend, so she listened to her favorites, Danny Kaye and Spike Jones and read as many movie fan magazines as she could. She dreamed of attending the famed Pasadena Playhouse and received many awards at school for speech, poetry, and dramatics. In 1947, she was accepted as a student at the Pasadena Playhouse, and her grandfather agreed to pay for her classes. She worked in summer stock to supplement her income, graduating in 1950.
She gave herself a complete head-to-toe makeover, including painful cosmetic nose surgery to make herself ready for movie roles. Working as an understudy at the Players Ring Theater, she stepped in when the star left to get married. She was seen by a talent scout from Paramount and given a screen test, which went well. She made her first appearance in The Turning Point (1952). She did some other work during her 6-month contract, but when it ended, Paramount, suffering from television's impact, let it lapse. She quipped, "They let me and 16 secretaries go!"
She started working in television but kept busy on stage as well. There, she met a fellow Texan, a young man named Aaron Spelling, and they became a couple. She made a breakthrough in the 3-D movie House of Wax (1953) and garnered excellent reviews. Aaron was still struggling, so he felt he wasn't able to propose to Carolyn; she finally proposed to him. They were married in April 1953. Neither was earning much, but they really enjoyed each other and their life. Many saw them as an ideal couple. She decided against having children as she felt she could not juggle the demands of both a career and a family.
Columbia Pictures saw her and wanted to test her for the part of prostitute Alma Burke in From Here to Eternity (1953), but she got extremely sick with pneumonia and the part went to Donna Reed, nine years older, who won an Academy Award. Jones did, however, achieve success in the science-fiction classic Invasion of the Body Snatchers (1956), a subtle allegory of the times (McCarthyism). And the famous filmmaker Alfred Hitchcock cast her in The Man Who Knew Too Much (1956) opposite James Stewart and Doris Day. Meanwhile, Aaron had little success as an actor and Carolyn pushed him to become a writer, even threatening to leave him. She constantly promoted his scripts whenever she could and he was ultimately hired by Dick Powell. Carolyn, meanwhile, was successful once more in The Bachelor Party (1957) (famous line, "Just say you love me--you don't have to mean it!"). For this role, she surprised cast members by dyeing her hair black and cutting it short. This stunning look served her well for a number of roles. For her eight minutes on screen, she received glowing reviews and was nominated for an Academy Award but lost. However, she did win the Golden Globe Award and the Laurel Award for Marjorie Morningstar (1958). She followed this with an impressive appearance in King Creole (1958), generally regarded as Elvis Presley's best film. She then gave arguably her best performance ever in Career (1959), but the film was not commercially successful. She played a serious role in this, leaving the kooky role she might have played to Shirley MacLaine.
As Aaron's career soared, the marriage started to fail. They separated in October 1963 and amicably divorced in August 1965, with Carolyn asking for no alimony. They remained friends. She worked at various roles including two episodes of Burke's Law (1963) for which she received a Golden Globe nomination. Soon, she got the part for which she will best be remembered, that of Morticia Addams in The Addams Family (1964). She spent two years in this role. Her costume was designed to copy the cartoon drawings and no doubt inspired such imitators as Cassandra Peterson (Elvira, Mistress of the Dark). The show went head-to-head with The Munsters (1964) and Bewitched (1964).
The show was a hit and she received all the fame she had craved. However, the network decided to cancel the show, despite its success, after only two years. Typecast as Morticia but without the income that a few more years would have provided, she found life difficult and roles few. While acting on the road, she married her voice coach, Herbert Greene, a well-known and respected Broadway conductor and musical director, and they moved together to Palm Springs, California. After seven years, she left him and returned to Hollywood, determined to try to restart her career. She was surprisingly successful and performed in several shows, including Wonder Woman (1975), where she played Hippolyta, the mother of Wonder Woman (Lynda Carter) and Wonder Girl (Debra Winger). She also appeared in the landmark miniseries Roots (1977). She appeared in four episodes of Fantasy Island (1977) and one episode of The Love Boat (1977), two shows produced by her former husband, Aaron Spelling. In 1979, both of Jones's parents died; her mother from pancreatic cancer. She took on the role of Myrna Clegg on the soap Capitol (1982) from 1982 to 1983, despite having been diagnosed with colon cancer in 1981. She underwent aggressive treatment for the cancer, but it returned during her time on the show and she was told it was terminal.
She played some scenes despite being confined to a wheelchair and working in great pain. Knowing time was short, she married her boyfriend of five years, Peter Bailey-Britton, in September 1982. She died on August 3, 1983, aged 53. She had told her sister Bette that she wanted her epitaph to be "She gave joy to the world." She certainly had many friends who loved her greatly, and many fans who enjoyed her wonderful performances.- Actor
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Often credited as the greatest comedian of all time, Peter Sellers was born Richard Henry Sellers to a well-off acting family in 1925 in Southsea, a suburb of Portsmouth. He was the son of Agnes Doreen "Peg" (Marks) and William "Bill" Sellers. His parents worked in an acting company run by his grandmother. His father was Protestant and his mother was Jewish (of both Ashkenazi and Sephardi background). His parents' first child had died at birth, so Sellers was spoiled during his early years. He enlisted in the Royal Air Force and served during World War II. After the war he met Spike Milligan, Harry Secombe and Michael Bentine, who would become his future workmates.
After the war, he set up a review in London, which was a combination of music (he played the drums) and impressions. Then, all of a sudden, he burst into prominence as the voices of numerous favorites on the BBC radio program "The Goon Show" (1951-1960), and then making his debut in films in Penny Points to Paradise (1951) and Down Among the Z Men (1952), before making it big as one of the criminals in The Ladykillers (1955). These small but showy roles continued throughout the 1950s, but he got his first big break playing the dogmatic union man, Fred Kite, in I'm All Right Jack (1959). The film's success led to starring vehicles into the 1960s that showed off his extreme comic ability to its fullest. In 1962, Sellers was cast in the role of Clare Quilty in the Stanley Kubrick version of the film Lolita (1962) in which his performance as a mentally unbalanced TV writer with multiple personalities landed him another part in Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) in which he played three roles which showed off his comic talent in play-acting in three different accents; British, American, and German.
The year 1964 represented a peak in his career with four films in release, all of them well-received by critics and the public alike: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), for which he was Oscar nominated, The Pink Panther (1963), in which he played his signature role of the bumbling French Inspector Jacques Clouseau for the first time, its almost accidental sequel, A Shot in the Dark (1964), and The World of Henry Orient (1964). Sellers was on top of the world, but on the evening of April 5, 1964, he suffered a nearly fatal heart attack after inhaling several amyl nitrites (also called 'poppers'; an aphrodisiac-halogen combination) while engaged in a sexual act with his second wife Britt Ekland. He had been working on Billy Wilder's Kiss Me, Stupid (1964). In a move Wilder later regretted, he replaced Sellers with Ray Walston rather than hold up production. By October 1964, Sellers made a full recovery and was working again.
The mid-1960s were noted for the popularity of all things British, from the Beatles music (who were presented with their Grammy for Best New Artist by Sellers) to the James Bond films, and the world turned to Sellers for comedy. What's New Pussycat (1965) was another big hit, but a combination of his ego and insecurity was making Sellers difficult to work with. When the James Bond spoof Casino Royale (1967) ran over budget and was unable to recoup its costs despite an otherwise healthy box-office take, Sellers received some of the blame. He turned down an offer from United Artists for the title role in Inspector Clouseau (1968), but was angry when the production went ahead with Alan Arkin in his place. His difficult reputation and increasingly erratic behavior, combined with several less successful films, took a toll on his standing. By 1970, he had fallen out of favor. He spent the early years of the new decade appearing in such lackluster B films as Where Does It Hurt? (1972) and turning up more frequently on television as a guest on The Dean Martin Show (1965) and a Glen Campbell TV special.
In 1974, Inspector Clouseau came to Sellers rescue when Sir Lew Grade expressed an interest in a TV series based on the character. Clouseau's creator, writer-director Blake Edwards, whose career had also seen better days, convinced Grade to bankroll a feature film instead, and The Return of the Pink Panther (1975) was a major hit release during the summer of Jaws (1975) and restored both men to prominence. Sellers would play Clouseau in two more successful sequels, The Pink Panther Strikes Again (1976) and Revenge of the Pink Panther (1978), and Sellers would use his newly rediscovered clout to realize his dream of playing Chauncey Gardiner in a film adaptation of Jerzy Kosinski's novel "Being There". Sellers had read the novel in 1972, but it took seven years for the film to reach the screen. Being There (1979) earned Sellers his second Oscar nomination, but he lost to Dustin Hoffman for Kramer vs. Kramer (1979).
Sellers struggled with depression and mental insecurities throughout his life. An enigmatic figure, he often claimed to have no identity outside the roles that he played. His behavior on and off the set and stage became more erratic and compulsive, and he continued to frequently clash with his directors and co-stars, especially in the mid-1970s when his physical and mental health, together with his continuing alcohol and drug problems, were at their worst. He never fully recovered from his 1964 heart attack because he refused to take traditional heart medication and instead consulted with 'psychic healers'. As a result, his heart condition continued to slowly deteriorate over the next 16 years. On March 20, 1977, Sellers barely survived another major heart attack and had a pacemaker surgically implanted to regulate his heartbeat which caused him further mental and physical discomfort. However, he refused to slow down his work schedule or consider heart surgery which might have extended his life by several years.
On July 25, 1980, Sellers was scheduled to have a reunion dinner in London with his Goon Show partners, Spike Milligan and Harry Secombe. However, at around 12 noon on July 22, Sellers collapsed from a massive heart attack in his Dorchester Hotel room and fell into a coma. He died in a London hospital just after midnight on July 24, 1980 at age 54. He was survived by his fourth wife, Lynne Frederick, and three children: Michael, Sarah and Victoria. At the time of his death, he was scheduled to undergo an angiography in Los Angeles on July 30 to see if he was eligible for heart surgery.
His last movie, The Fiendish Plot of Dr. Fu Manchu (1980), completed just a few months before his death, proved to be another box office flop. Director Blake Edwards' attempt at reviving the Pink Panther series after Sellers' death resulted in two panned 1980s comedies, the first of which, Trail of the Pink Panther (1982), deals with Inspector Clouseau's disappearance and was made from material cut from previous Pink Panther films and includes interviews with the original casts playing their original characters.- Actress
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Born Hayley Catherine Rose Vivien Mills in London in 1946, she is the daughter of the great actor Sir John Mills and the well-known novelist-playwright Mary Hayley Bell. Her sister is the actress Juliet Mills. She grew up in her parents' home, an outgoing, funny child, and, because she spent so much time with her parents and their friends, very intelligent. When she went to boarding school at age nine, however, she became very shy around kids her own age. She found solace in theater productions at her school. She was noticed playing at her parent's home in 1958 by director J. Lee Thompson, who immediately cast her opposite her father in the thriller Tiger Bay (1959). Her debut performance turned heads around the world, from Germany, where she won an award at the Berlin Film Festival, to Hollywood, when Walt Disney came knocking at her door. He signed her to a five-year contract. For her first film for the studio, Pollyanna (1960), she won critical raves, box-office success, and a special Juvenile Academy Award. Her second Disney film, The Parent Trap (1961), in which she played twins, was even more popular. She continued to appear in routine Disney films like In Search of the Castaways (1962) and Summer Magic (1963), as well as films outside the studio like Whistle Down the Wind (1961), based on her mother's novel, and The Chalk Garden (1964), again co-starring with her father. Though Disney gave her a somewhat more adult role in the mystery film The Moon-Spinners (1964), she had begun to tire of her sunny, innocent Pollyanna image. After completing That Darn Cat! (1965), she left the studio for good. That Darn Cat! (1965) was still a success, as was her first post-Disney film, Columbia's The Trouble with Angels (1966). Then, she shocked her fans by appearing in the comedy The Family Way (1966) with her father. There was an even bigger surprise in store when she fell in love with the film's director, Roy Boulting, who was 33 years her senior. She lived with Boulting for five years after he divorced his wife. They married in 1971 and had a son, Crispian Mills, in 1973. By this time, he'd taken control of her career, and, as a result, she made many bad film choices that left critics and audiences cold. By 1975, her film career had pretty much tanked. She separated from Boulting that year and moved in with actor Leigh Lawson, with whom she had a son, Jason, in 1976. They split up in 1984. She appeared in three TV-movie sequels to The Parent Trap (1961) in the 1980s, and also appeared in the BBC miniseries The Flame Trees of Thika (1981) and the TV series Good Morning, Miss Bliss (1987), later re-titled Saved by the Bell (1989). She hasn't done much film work in several years, preferring to concentrate on her burgeoning career in theater. Her greatest success in theater, so far, has been the role of Anna in "The King and I", which she has played in many touring stage productions throughout the 1990s.- Actor
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Hywel Bennett was born on 8 April 1944 in Garnant, Carmarthenshire, Wales, UK. He was an actor, known for Neverwhere (1996), Percy (1971) and Tinker Tailor Soldier Spy (1979). He was married to Sandra Layne Fulford and Cathy McGowan. He died on 25 July 2017 in Deal, Kent, England, UK.- Actress
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At age 15, when most young women are nurturing dreams of romance, Olivia Hussey was giving life to Juliet in Franco Zeffirelli's Romeo and Juliet (1968). Her performance in one of the most celebrated roles ever written in the English language won her the Golden Globe and two successive Best Actor Donatello Awards (Italy's Oscar equivalent), an incredible achievement for an actress in only her third film.
Olivia, a seasoned veteran of the London stage where she debuted opposite Vanessa Redgrave in "The Prime of Miss Jean Brodie", has appeared in over two dozen films, including Death on the Nile (1978) with Bette Davis and Peter Ustinov, Jesus of Nazareth (1977) (united again with the great Zeffirelli), Last Days of Pompeii (1975) opposite Sir Laurence Olivier, Lost Horizon (1973), The Bastard (1978), Hallmark's Hall of Fame Ivanhoe (1982) with James Mason, Showtime's Psycho IV: The Beginning (1990) and It (1990). She has also guest-starred in numerous television series.
Considered by many to be one of the most beautiful women in the world, Olivia may owe this "title" to her "exotic" blend; her father was Argentinian and her mother was of English and Scottish ancestry. She spent her early youth in Buenos Aires, her father being Andreas Osuna, aka Isvaldo Ribo, renowned Argentine opera and tango singer, and her English mother encouraging her early inclinations for the performing arts. At the age of seven, she moved with her mother and younger brother to England, where she spent the next five years attending drama school. From there, she landed the role of "Jenny" in "Jean Brodie". It was in that theater production that Zeffirelli spotted her. After auditioning over 500 other young actresses for the part of Juliet, he awarded the part to Olivia, and the rest, as they say, is history.
She then moved to Los Angeles, where she met and married Dean Paul Martin, son of the late and great entertainer Dean Martin. They had a son, Alexander Martin, who is now an actor. She and Martin eventually divorced, and Olivia later married Akira Fuse, one of Japan's premier singers. That marriage produced a second son, Max, born in 1983. Two years later, she signed on to star with Burt Lancaster and Ben Cross (Chariots of Fire (1981)) in The Jeweller's Shop (1988), a screen adaptation of a story written by Pope John Paul II (at the time he wrote it he was called Karol Wotyla). Following the filming, Olivia was invited to view the film at the Vatican as a guest of His Holiness.
Never seeming to be able to stop the constant work schedule and travel, Olivia finally decided she needed a break. After taking some much deserved time off for herself and to raise her young daughter, India Joy, she returned to work starring in two back-to-back features. The first, El grito (2000) (known as "Bloody Proof" in America), was shot in Mexico City and required her to deliver the role bilingually, applying her native command of Spanish. The second was Tortilla Heaven (2007), a comedy written and directed by Sundance Film Festival winner Judy Hecht Dumontet, in which Olivia plays the town nudist(!).
Most recently, Olivia has completed her life's dream, portraying Mother Teresa of Calcutta, a movie shot entirely on location in Sri Lanka and Italy. Her performance was received with open arms by the Sisters of Mother Teresa's Missionaries of Charity when it was screened for them in Italy. Also present at the screening, and pleased with her portrayal, was Agi Bojaxhiu, a wonderful lady and the niece and only direct living relative of Mother herself.
Olivia lives outside of Los Angeles with her family, as well as her menagerie of animals.- Actress
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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.- Actor
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The son of a Lancashire bookmaker, Albert Finney came to motion pictures via the theatre. In 1956, he won a scholarship to RADA where his fellow alumni included Peter O'Toole and Alan Bates. He joined the Birmingham Repertory where he excelled in plays by William Shakespeare. A member of the Royal Shakespeare Company, Finney understudied Laurence Olivier at Stratford-upon-Avon, eventually acquiring a reputation as 'the new Olivier'. He first came to critical attention by creating the title role in Keith Waterhouse's "Billy Liar" on the London stage. His film debut soon followed with The Entertainer (1960) by Tony Richardson with whom had earlier worked in the theatre. With the changing emphasis in 60s British cinema towards gritty realism and working-class milieus, Finney's typical screen personae became good-looking, often brooding proletarian types and rebellious anti-heroes as personified by his Arthur Seaton in Karel Reisz's Saturday Night and Sunday Morning (1960). His exuberant defining role, however, was in the bawdy period romp Tom Jones (1963) in which Finney revealed a substantial talent for comedy. In the same vein, he scored another hit opposite Audrey Hepburn in the charming marital comedy Two for the Road (1967).
By 1965, Finney had branched out into production, setting up Memorial Enterprises in conjunction with Michael Medwin. In 1968, he directed himself in Charlie Bubbles (1968) and three years later produced the Chandleresque homage Gumshoe (1971), in which he also starred as Eddie Ginley, a bingo-caller with delusions of becoming a private eye. From 1972 to 1975, Finney served as artistic director of the Royal Court Theatre. His intermittent forays to the screen confirmed him as a versatile international actor of note, though not what one might describe as a mainstream star. His roles have ranged from Ebenezer Scrooge in the musical version of Scrooge (1970) to Daddy Warbucks in Annie (1982) and (in flamboyant over-the-top make-up) Hercule Poirot in Murder on the Orient Express (1974). He appeared as Minister of Police Joseph Fouché in Ridley Scott's superb period drama The Duellists (1977) and as a grandiloquent Shakespearean actor in The Dresser (1983) for which he received an Oscar nomination. For the small screen Finney essayed Pope John Paul II (1984) and was a totally believable Winston Churchill in the acclaimed The Gathering Storm (2002). His final movie credit was in the James Bond thriller Skyfall (2012).
Finney was five-times nominated for Academy Awards in 1964, 1975, 1984, 1985 and 2001. He won two BAFTA Awards in 1961 and 2004. True to his working-class roots, he spurned a CBE in 1980 and a knighthood in 2000, later explaining his decision by stating that the 'Sir thing' "slightly perpetuates one of our diseases in England, which is snobbery". Albert Finney was diagnosed with kidney cancer in 2011. He died on February 7 2019 at a London hospital from a chest infection at the age of 82. Upon his death, John Cleese described him as "the best" and "our greatest actor".- Stewart Granger was born James Lablache Stewart in London, the great grandson of the opera singer Luigi Lablache. He attended Epsom College but left after deciding not to pursue a medical degree. He decided to try acting and attended Webber-Douglas School of Dramatic Art, London. By 1935, he made his stage debut in "The Cardinal" at the Little Theatre Hull . He was with the Birmingham Repertory Company between 1936 and 1937 and, in 1938, he made his debut in the West End, London in "The Sun Never Sets". He joined the Old Vic company in 1939, appearing in 'Tony Draws a Horse' at the Criterion and 'A House in the Square' at the St Martins He had been gradually rising through the ranks of better stage roles when World War II began, and he joined the British Army in 1940. However, he developed an ulcer (1942) which brought his release from military service.
With a dearth of leading men for British movies he quickly landed his first film opportunity The Man in Grey (1943) for Gainsborough Pictures. This was the first installment of the company's successful series of romance films. Not to be confused with American actor James Stewart, James Lablanche Stewart became Stewart Granger (though he was "Jimmy" to his off-screen friends). But the film work was unsatisfying. He was forever cast as the dashing hero type, while fellow up-and-coming actor James Mason always garnered the more substantial Gainsborough part. When Mason got the nod from Hollywood, Granger inherited better parts and, in some star company in one case, the sophisticated Caesar and Cleopatra (1945) with Claude Rains and Vivien Leigh and a very young bit player already being noticed, Jean Simmons. Granger's lead roles to the end of the decade were substantial, but Simmons was unwittingly moving on into British film history with small but memorable roles for David Lean, Michael Powell, and, in a big way, Laurence Olivier, as "Ophelia" in his historic Hamlet (1948) for which she received an Oscar nomination. Granger and she were brought together as co-stars in the comedy Adam and Evalyn (1949). This time around, the chemistry off-camera was there as well, and they became engaged. About the same time, Granger's hope of interesting Hollywood was realized for him and his bride-to-be. He married Simmons and signed with MGM in 1950. Once in Hollywood, he was getting star billing leads in romantic roles that the audiences loved, but he found them still unsatisfying. He also found himself heir apparent to Errol Flynn as a swashbuckler in two popular films: the remake of The Prisoner of Zenda (1952) and Scaramouche (1952). He and Simmons were paired in Young Bess (1953), where Granger had the romantic lead, but Simmons was the focus of the movie.
Through the 50s, the films of each might have fairly equal production values, but as the fortunes of Hollywood go, Simmons was the more memorable star in films that were more popular-some very big hits, the later Elmer Gantry (1960) and Spartacus (1960). That sort of undeclared competition for a married Hollywood couple was poison to the marriage. In 1960, they divorced. Granger did a lot of work in Germany, along with some in Italy and Spain in the 60s. Interestingly, in the same period Simmons was finding the same lack of challenging roles in the US. In the 70s and 80s, Granger was relegated to small screen subsistence with regular TV roles along with a few movies and a stint on the New York stage. And ironically, Simmons was in the same boat during that period. Granger's typecasting was nothing new, but certainly his often scathing criticism of Hollywood and its denizens that came out in his autobiography "Sparks Fly Upward" was understandable and rang true with so many other stories dealing with illusive stardom. Though he was candid in his disgust with his whole career - and admittedly he did not have the depth for the range of roles allotted to bigger named actors - nonetheless he always turned in solid performances in the roles that became his legacy. - Actor
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Laurence Harvey was a British movie star who helped usher in the 1960s with his indelible portrait of a ruthless social climber, and became one of the decade's cultural icons for his appearances in socially themed motion pictures.
Harvey was born Zvi Mosheh Skikne on October 1, 1928 in Joniskis, Lithuania, to Ella (Zotnickaita) and Ber Skikne. His family was Jewish. The youngest of three brothers, he emigrated with his family, to South Africa in 1934, and settled in Johannesburg. The teenager joined the South African army during World War II, and was assigned to the entertainment unit. His unit served in Egypt and Italy, and after the war the future Laurence Harvey returned to South Africa and began a career as an actor. He moved to London after winning a scholarship to the Royal Academy of Dramatic Arts. He then did his apprenticeship in regional theatre, moving to Manchester in the 1940s. The tyro actor reportedly supported himself as a hustler while appearing with the city's Library Theatre. Even at this point in his life he was known to be continually in debt and adopted a firm belief in living beyond his means, a pattern that would continue until his premature death. His lifestyle would often dictate working on less worthy projects for the sake of a paycheck.
His film debut came in House of Darkness (1948), and he was soon signed by Associated British Studios. His early film roles proved underwhelming, and his attempt to become a stage star was disastrous - his debut in the revival of "Hassan" was a notorious flop. After failing in the commercial theater in London's West End, Harvey joined the company of the Shakespeare Memorial Theatre at Stratford-upon-Avon for the 1952 season. Regularly panned by critics during his stint on the boards in the Bard's works, he built up his reputation as a personality by becoming combative, telling the press that he was a great actor despite the bad reviews. Someone was listening, as Romulus Pictures signed him in 1953 and began building him up as a star.
Harvey was cast as Romeo in Romeo and Juliet (1954), a film that exemplified the main problem that kept Harvey from major stardom (but subsequently would serve him quite well in a handful of roles): his screen persona was emotionally aloof if not downright frigid. Despite his icy portrayal of the great romantic hero Romeo, Harvey attracted enough attention in Hollywood to be brought over by Warner Bros. and given a lead role in King Richard and the Crusaders (1954).
In Old Blighty with Romulus after his Hollywood adventure, Harvey met his future wife Margaret Leighton on the set of The Good Die Young (1954). Other film appearances included I Am a Camera (1955) and Three Men in a Boat (1956), the latter becoming his first certified hit, and even greater success was to come. The colorful Harvey, a press favorite, became notorious for his high-spending, high-living ways. He found himself frequently in debt, his travails faithfully reported by entertainment columnists. More fame was to come.
After making three flops in a row, Harvey began a brief reign as the Jack the Lad of British cinema with the great success of Room at the Top (1958). That film and Look Back in Anger (1959), which was also released that year, inaugurated the "kitchen sink" school of British cinema that revolutionized the country's film industry and that of its cousin, Hollywood, in the 1960s.
Harvey was born to play Joe Lampton, if not in kin, then in kind. Lampton was a working-class bloke who dreams of escaping his social strata for something better. It was a perfect match of actor and role, as the icy Harvey persona made Joe's ruthless ambition to climb the greasy pole of success fittingly chilling. In bringing Joe to life on the screen, Harvey was more successful than Richard Burton (a far better actor) had been in limning the theater's Jimmy Porter in the film adaptation of John Osborne's seminal "Look Back in Anger," despite Burton's own working-class background. Burton's volcanic use of his mellifluous voice, a great instrument, is much too hot for the the small universe on the screen, a case of projection that is so intense that it overwhelms the character and the film (it took Burton another half-decade to learn to act on film, and a half-decade more to lose that gift). Whereas Burton had to learn to rein it in, Harvey's already tightly controlled persona made the social-climbing Lampton resonate. Harvey fits the skin of the character much better than does Burton. Despite not being an authentic specimen, the success of his performance as a working-class man-on-the-make proved to be the vanguard of a new generation of screen characters that would be played by the real thing: Albert Finney, Tom Courtenay, Terence Stamp and Michael Caine, among others. "Room at the Top" signaled the appearance of the New Wave of British cinema. For his role as Joe, Harvey received his first (and only) Academy Award nomination.
While historically significant, "Room at the Top" is no longer ranked at the summit of other, more contemporary kitchen-sink dramas, such as Karel Reisz's Saturday Night and Sunday Morning (1960), Tony Richardson's A Taste of Honey (1961) and Lindsay Anderson's This Sporting Life (1963), or even John Schlesinger's provincial comedy Billy Liar (1963), films that made stars out of the authentic working-class/provincial actors Finney, Alan Bates, Richard Harris and Courtenay, respectively. The virtue of the film is its emotional honesty about the manipulation of personal relationships for social gain in postwar Britain, a system that after a decade under the Conservatives had become self-satisfied and complacent. In its portrayal of class warfare, the film offers the most intense critique of the British class system offered by any film from the British New Wave, including "Saturday Night and Sunday Morning," which never leaves the confines of the working-class strata its main character, Arthur Seaton, is stuck in and ultimately reconciled to.
That Joe chooses a woman other than the one he really loves in order to gain social mobility, engaging in emotional manipulation of other human beings, is a brutal indictment of the class structure of postwar Britain. Joe, on his way to his wedding and his great chance, has lost his humanity. His failure is symbolic of Britain's failure as well. It is the haughtiness and narcissism of the actor Harvey (qualities his screen persona engenders in film after film) that elucidates Lampton's weakness. A further irony of Harvey's effective, if ersatz, portrayal of working-class Joe is that it made him such a success - he soon went off to Hollywood to play opposite box-office titan Elizabeth Taylor in BUtterfield 8 (1960), thus losing out on further opportunities to appear in the British New Wave he helped introduce. As well as supporting Taylor in her Oscar-winning turn in "Butterfield 8" (the two became close friends), a badly miscast Harvey also co-starred as Texas hero Col. James Travis in John Wayne's bloated budget-buster The Alamo (1960).
With the exception of the lead in the British Jungle Fighters (1961)- a war picture that was decidedly NOT New Wave - Harvey did not appear again in a major British film until 1965, when he returned to the other side of the pond to reprise Joe in the "Room" sequel Life at the Top (1965). However, if he had never gone Hollywood, he might never have been cast in his other signature role: Raymond Shaw, the eponymous The Manchurian Candidate (1962). Once again, the match of actor and character was ideal, as Harvey's coldness and affect-free acting perfectly embodied the persona of the programmed assassin. The film, and Harvey's performance in it, are classic.
In this Hollywood interlude, Harvey also appeared in the screen adaptations of Tennessee Williams' Summer and Smoke (1961) opposite the great Geraldine Page, Oscar-nominated for her role, and the artistically less successful Walk on the Wild Side (1962), supported by the legendary Barbara Stanwyck, French beauty Capucine and a young Jane Fonda. The critics were less kind to his acting in these outings, and, indeed, the rather elegant Harvey does seem miscast as Dove Linkhorn, the wandering Texan created by hardboiled Nelson Algren, reduced to working in an automotive garage by the exigencies of the Great Depression. Critics were even less kind when Harvey tried to follow in Leslie Howard's footsteps in the remake of Of Human Bondage (1964).
Although he could not know it then, Harvey had reached the zenith of his career. In 1962 he won the Best Actor prize at the Munich film festival in 1962 for his role in The Wonderful World of the Brothers Grimm (1962). Honors for Harvey were few after this point. He co-starred with Paul Newman and Claire Bloom in Martin Ritt's film version of the Broadway re-envisioning of Akira Kurosawa's cinematic masterpiece Rashomon (1950). The result, The Outrage (1964), in which Newman played a murderous Mexican bandit and Harvey his victim, was an unqualified flop that still boggles the mind of viewers unfortunate enough to stumble upon it, so outrageous is the idea of casting Newman as a Mexican killer (a role originated by Rod Steiger on the Broadway stage). Harvey, very often a wooden presence in his less inspired performances, was appropriately upstaged by the tree he remained tied to throughout most of the film.
Along with "Life at the Top," Harvey appeared in support of Oscar-winner Julie Christie in John Schlesinger's Darling (1965), an allegedly "mod" look at the jaded and superficial existence of what was then termed the "jet set." Despite its "New Wave"-like cutting and visual sense, "Darling" - which was embraced wholeheartedly by Hollywood and originally had been envisioned as a vehicle for Shirley MacLaine - was, at its heart, an old-fashioned Hollywood-style morality play, a warning that the wages of sin lead to emotional emptiness, hardy a revolutionary idea in 1965. Christie was excellent - particularly as she metamorphosed from Dolly-bird to a more mature sort of hustler - and first-male lead Dirk Bogarde always proved an interesting actor, but it was Harvey who most clearly embodied the zeitgeist of the picture. Once again, his coldness did him well as he limned the executive who manipulates and is manipulated by Christie's Diana character.
Harvey had become at this point a kind of good-luck charm for actresses with whom he appeared. Simone Signoret, Elizabeth Taylor and Christie won Best Actress Oscars after appearing in films with him, and Geraldine Page and "Room at the Top" co-star Hermione Baddeley were both Oscar-nominated in the period after appearing opposite Harvey. Alas, no one else collected kudos in a Harvey picture: he reached the high-water mark of his career in 1962, and his star was already in in decline to a murkier, less-lustrous part of the Hollywood/international cinema firmament.
Another irony of Harvey's career is that, despite ushering in the British New Wave and a cinema more independent of the meat-grinder ethos of the Hollywood and British studios catering to popular taste, he would have been better served in the 1930s and 1940s as a contract player at a major studio. Like Michael Wilding (who also became the third husband of Harvey's first wife, Margaret Leighton), another handsome man of limited gifts who nonetheless could be quite affecting in the right role, Harvey's career likely would have thrived under the studio system, with an interested boss to guide him. Like Minniver Cheever, however, he was unfortunate to have been born after his time.
As it was, the next (and last) decade of Harvey's screen life was a disappointment, with the actor relegated to less and less prestigious pictures and international co-productions that needed a "star" name. In the 1970s, Harvey became largely irrelevant as a player in the motion picture industry. His luck had run out. Good friend Liz Taylor, whose string of motion picture successes had also run its course, had him cast in Night Watch (1973), and he directed the last picture in which he appeared, Welcome to Arrow Beach (1973). If he had lived, he might have made the transition to director (he had earlier directed The Ceremony (1963) and finished directing A Dandy in Aspic (1968) after the death of original director Anthony Mann).
Laurence Harvey died on November 25, 1973, from stomach cancer. He publicly revealed that he was dismayed by being afflicted with the fatal disease, as he had always been careful with the way he ate. Sadly, his personal luck, just as capricious as his professional career, had also gone into eclipse. One of the more colorful characters to grace the screen was dead at the age of 45, exiting the stage far too soon for the legions of fans that still admired him despite the downturn in his fortunes.- Actress
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Melina Mercouri was born in Athens, Greece on October 18, 1920. An early woman activist, she was elected to the Greek Parliament in 1977. Later Miss Mercouri was to become the first woman to hold a Senior cabinet post "Minister of Culture" in the Greek government. In 1971 she wrote her autobiography titled "I Was Born Greek." Melina wed actor Jules Dassin in 1966 and remained married to him until her death in 1994. Melina Mercouri died of lung cancer in New York City, on March 6, 1994.- Actress
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Actress and singer Ann-Margret is one of the most famous sex symbols and actresses of the 1960s and beyond. She continued her career through the following decades and into the 21st century.
Ann-Margret was born Ann-Margret Olsson in Valsjöbyn, Jämtland County, Sweden, to Anna Regina (Aronsson) and Carl Gustav Olsson, who worked for an electrical company. She came to America at age 6. She studied at Northwestern University and left for Las Vegas to pursue a career as a singer. Ann-Margret was discovered by George Burns and soon afterward got both a record deal at RCA and a film contract at 20th Century Fox. In 1961, her single "I Just Don't Understand" charted in the Top 20 of the Billboard Hot 100 Charts. Her acting debut followed the same year as Bette Davis' daughter in Frank Capra's Pocketful of Miracles (1961). She appeared in the musical State Fair (1962) a year later before her breakthrough in 1963. With Bye Bye Birdie (1963) and Viva Las Vegas (1964) opposite Elvis Presley, she became a Top 10 Box Office star, teen idol and even Golden Globe nominated actress. She was marketed as Hollywood's hottest young star and in the years to come got awarded the infamous nickname "sex kitten." Her following pictures were sometimes ripped apart by critics (Bus Riley's Back in Town (1965) and The Swinger (1966)), sometimes praised (The Cincinnati Kid (1965)). She couldn't escape being typecast because of her great looks. By the late 1960s, her career stalled, and she turned to Italy for new projects. She returned and, by 1970, she was back in the public image with Hollywood films (R.P.M. (1970) opposite Anthony Quinn), Las Vegas sing-and-dance shows and her own television specials. She finally overcame her image with her Oscar-nominated turn in Mike Nichols' Carnal Knowledge (1971) and succeeded in changing her image from sex kitten to respected actress. A near-fatal accident at a Lake Tahoe show in 1972 only momentarily stopped her career. She was again Oscar-nominated in 1975 for Tommy (1975), the rock opera film of the British rock band The Who. Her career continued with successful films throughout the late 1970s and into the 1980s. She starred next to Anthony Hopkins in Magic (1978) and appeared in pictures co-starring Walter Matthau, Gene Hackman, Glenda Jackson and Roy Scheider. She even appeared in a television remake of Tennessee Williams's masterpiece play "A Streetcar Named Desire" in 1983. Another late career highlight for her was Grumpy Old Men (1993) as the object of desire for Jack Lemmon and Walter Matthau. She continues to act in movies today.- Actress
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The lovely Susannah York, a gamine, blue-eyed, cropped-blonde British actress, displayed a certain crossover star quality when she dared upon the Hollywood scene in the early 1960s. A purposefully intriguing, enigmatic and noticeably uninhibited talent, she was born Susannah Yolande Fletcher on January 9, 1939 in Chelsea, London, but raised in a remote village in Scotland. Her parents divorced when she was around 6. Attending Marr College, she trained for acting at London's Royal Academy of Dramatic Art, winning the Ronson Award for most promising student. She then performed classical repertory and pantomime in her early professional career.
Making an impression on television in 1959 opposite Sean Connery in a production of "The Crucible" as Abigail Williams to his John Proctor, the moon-faced beauty progressed immediately to ingénue film roles, making her debut as the daughter of Alec Guinness in the classic war drama Tunes of Glory (1960). She emerged quickly as a worthy co-star with the sensitively handled coming-of age drama Loss of Innocence (1961), the more complex psychodrama Freud (1962), as a patient to Montgomery Clift's famed psychoanalyst, and the bawdy and robust 18th century tale Tom Jones (1963), with Susannah portraying the brazenly seductive Sophie, one of many damsels lusting after the bed-hopping title rogue Albert Finney.
Susannah continued famously both here and in England in both contemporary and period drama opposite the likes of Warren Beatty, William Holden, Paul Scofield and Dirk Bogarde. Susannah was a new breed. Free-spirited and unreserved, she had no trouble at all courting controversy in some of the film roles she went on to play. She gained special notoriety as the child-like Alice in her stark, nude clinches with severe-looking executive Coral Browne in the lesbian drama The Killing of Sister George (1968). A few years later, she and Elizabeth Taylor traveled similar territory with X, Y & Zee (1972).
Award committees also began favoring her; she won the BAFTA film award as well as Oscar and Golden Globe nominations for her delusional Jean Harlow-like dance marathon participant in the grueling Depression-era film They Shoot Horses, Don't They? (1969). Her crazy scene in the shower with Oscar-winner Gig Young was particularly gripping and just one of many highlights in the acclaimed film. She also copped a Cannes Film Festival award for her performance in Images (1972) playing another troubled character barely coping with reality. On television, she was Emmy-nominated for her beautifully nuanced Jane Eyre (1970) opposite George C. Scott's Rochester.
Susannah's film career started to lose ground into the 1970s as she continued her pursuit of challengingly offbeat roles as opposed to popular mainstream work. The film adaptations of Kurt Vonnegut Jr.'s Happy Birthday, Wanda June (1971) opposite Rod Steiger and Jean Genet's The Maids (1975) with Glenda Jackson were not well-received. Her performances in such films as Gold (1974), Conduct Unbecoming (1975) which starred another famous York (Michael York), That Lucky Touch (1975), Sky Riders (1976) and The Shout (1978) were overlooked, as were the films themselves. In the one highly popular movie series she appeared in, the box-office smashes Superman (1978) and its sequel Superman II (1980), she had literally nothing to do as Lara, the wife of Marlon Brando's Jor-El and birth mother of the superhero. While the actress continued to pour out a number of quality work assignments in films and television, she failed to recapture her earlier star glow.
Wisely, Susannah began extending her talents outside the realm of film acting. Marrying writer Michael Wells in 1960, she focused on her personal life, raising their two children for a time. The couple divorced in 1980. In the 1970s, she wrote the children's books "In Search of Unicorns" and "Lark's Castle". She also found time to direct on stage and wrote the screenplay to one of her film vehicles Falling in Love Again (1980). On stage Susannah performed in such one-woman shows as "Independent State", 'Picasso's Women", "The Human Voice" and "The Loves of Shakespeare's Women", while entertaining such wide and varied theatre challenges as "Peter Pan" (title role), "Hamlet" (as Gertrude), "Camino Real", "The Merry Wives of Windsor", "A Streetcar Named Desire", "Private Lives", "Agnes of God" and the title role in "Amy's View".
At the age of 67, Susannah showed up once again on film with a delightful cameo role in The Gigolos (2006), and seemed ripe for a major comeback, perhaps in a similar vein to the legendary Judi Dench, Maggie Smith and Helen Mirren. Sadly, it was not to be. Diagnosed with bone marrow cancer, the actress died on January 15, 2011, six days after her 72nd birthday. Her final films, Franklyn (2008) and The Calling (2009), proved that she still possessed the magnetism of her earlier years.- Though his number of film roles amount to a bit over 30, Paul Scofield has cast a giant shadow in the world of stage and film acting. He grew up in West Sussex, the son of a schoolmaster. He attended the Varndean School for Boys in Brighton. The love of acting came early. While still high school age, he began training as an actor at the Croydon Repertory Theatre School (1939) and then at the Mask Theatre School (1940) in London. He took on all the experience he could handle by joining touring companies and also entertained British troops during World War II. He joined the Birmingham Repertory Theatre and, from there in 1946, he moved to Stratford-upon-Avon. There, in the birthplace of William Shakespeare, he had his first great successes. He had the title role in "Henry V"; he was "Cloten" in "Cymbeline"; "Don Adriano de Armado" in "Love's Labour's Lost", "Lucio" in "Measure for Measure", and then "Hamlet". And there were many more as he honed himself into one the great Shakespearean actors of the 20th century. With a rich, sonorous voice compared to a Rolls Royce being started up, in one instance, and a great sound rumbling forth from an antique crypt in yet another, he was quickly compared to Laurence Olivier.
Scofield did not move on to commercial theater until 1949, when he took the lead role of "Alexander the Great", in playwright Terence Rattigan's unfortunately ill-received "Adventure Story". And as he continued theater work, he moved toward film very carefully. From his first in 1955, Scofield was always - as with any of his acting assignments - extremely picky about accepting a particular role. It was three years before his second film. Meanwhile, Scofield had the opportunity to play a great lead part in a new play by a schoolmaster-turned-new-playwright, Robert Bolt. The play was "A Man for All Seasons" and Scofield's choice role was that of "Sir Thomas More", the great English humanist and chancellor, who defied the ogre "King Henry VIII" in his wish to put aside his first wife for "Anne Bolyne". It was a once in a lifetime part, and Scofield debuted it in London in 1960. His only appearance on Broadway was the next year in that play, which ran into 1962. It was no surprise that the work began garnering awards for him (see Trivia below for details on theater and film awards).
He returned to Shakespeare in 1962 with Peter Brook, the noted British director and producer, directing him as "Lear" at the newly formed Royal Shakespeare Company (RSC) at Stratford. This was a pioneering minimalist production, one of the first "bare stage" efforts - though things were pretty bare stage in Shakespeare's day. Scofield then did "Coriolanus" and "Love's Labour's Lost" for the Shakespeare Festival in Stratford, Ontario in 1963. His third film came six years after his second screen appearance (1958). This was his standout performance in The Train (1964), a production of his co-star, Burt Lancaster, that grew in size and budget with the entrance of Lancaster's second choice for director, John Frankenheimer. Some of the difficulties involved might have turned someone of Scofield's discipline back to the stage thereafter, but the filming of "Seasons" arrived, and he would hardly refuse. With Robert Bolt handling the screenplay and a superlative supporting cast, the film version of A Man for All Seasons (1966) collected some thirty-three international awards, including a three-statue sweep of prime-Oscar categories plus another three for good measure. Scofield was unforgettable as the incisive man of state, able to juggle the volatile politics of the time but always keep his honor and so brimming with faith as to endure the inevitably mounting tide against him.
It suited Scofield for a time to keep his screen-acting to adaptations of plays, books, and ensemble pieces fitted to the big screen. Peter Brook and he teamed again for a film version of the Brook-adapted play Tell Me Lies (1968). The adaptation of Herman Melville's Bartleby (1970), despite Scofield's efforts, did not wash as an attempt to update Melville's story in the late twentieth century. Then Brook was back again to finally attempt what he said had really never been done correctly -adapting Shakespeare to film. Scofield's 1962 "Lear" was held in high esteem, and Brook decided on a film version, King Lear (1970), an even more uncompromising, even uncomfortable, desolation staging and editing of the tragedy. Despite some oddball camera work and not wholly satisfying adapting of the play, Scofield was magnificent and got his chance to show that he is perhaps the best Lear of modern times. While still keeping a concerted interest in filmed play adaptations, Scofield could be lured into more typical screen drama. He joined former co-star, Burt Lancaster, for the spy thriller, Scorpio (1973), as a memorable Russian comrade of Lancaster from the days of World War II, caught in late-Cold War spy craft brutality.
Through the 1980s, Scofield did a mix of TV and film on both sides of the Atlantic. But he was drawn back to Shakespeare and filming efforts, though in humbler parts, first in the Henry V (1989) of ambitious Kenneth Branagh, as the French king, and, the next year, in the Franco Zeffirelli, Hamlet (1990), as "The Ghost" - with the real buzz being for Mel Gibson as the dour "Prince of Denmark". Both films were well-crafted with impressive supporting casts. And Scofield could be content that as with all his roles, he was remaining consistent with himself as his own best judge of how to challenge his acting gifts. Gibson was appropriately awed, saying that working with Scofield was like being "thrown into the ring with Mike Tyson" (that is, Mike Tyson then, not now). Through the 1990s, he enjoyed his continued sampling of all acting media, even radio narration and animation voice-over.
The matter of British actors weighing upon the acceptance of knighthoods for their work began most publicly with Scofield. In 1956, after his tour of "Hamlet" with a triumph in Moscow, he gratefully accepted the appointment as a Commander of the Order of the British Empire (CBE), but thereafter he refused on three occasions the offer of knighthood. "If you want a title, what's wrong with Mr.? If you have always been that, then why lose your title? "I have a title, which is the same one that I have always had. But it's not political. I have a CBE, which I accepted very gratefully". He said this with great simplicity and charm. The matter of 'theatrical nobility' has prompted others to follow Scofield's example. One high profile example with a twist is actor Anthony Hopkins, now an American citizen, who quipped that he only accepted the knighthood because his wife wanted him to do so. In taking the oath of citizenship, Hopkins pledged to "renounce the title of nobility to which I have heretofore belonged". But Scofield's demeanor in his logically crafted refusals from the first so fit this man's very private life. Yet quite averse to being interviewed, he has always been considerate to the public for their patronage. Brilliant man and acting legacy, on and off the stage, Paul Scofield truly is a "Man for All Seasons". - Actor
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Probably best-remembered for his turbulent personal life with Elizabeth Taylor (whom he married twice), Richard Burton was nonetheless also regarded as an often brilliant British actor of the post-WWII period.
Burton was born Richard Walter Jenkins in 1925 into a Welsh (Cymraeg)-speaking family in Pontrhydyfen to Edith Maude (Thomas) and Richard Walter Jenkins, a coal miner. The twelfth of thirteen children, his mother died while he was a toddler and his father later abandoned the family, leaving him to be raised by an elder sister, Cecilia. An avid fan of Shakespeare, poetry and reading, he once said "home is where the books are". He received a scholarship to Oxford University to study acting and made his first stage appearance in 1944.
His first film appearances were in routine British movies such as Woman of Dolwyn (1949), Waterfront Women (1950) and Green Grow the Rushes (1951). Then he started to appear in Hollywood movies such as My Cousin Rachel (1952), The Robe (1953) and Alexander the Great (1956), added to this he was also spending considerable time in stage productions, both in the UK and USA, often to splendid reviews. The late 1950s was an exciting and inventive time in UK cinema, often referred to as the "British New Wave", and Burton was right in the thick of things, and showcased a sensational performance in Look Back in Anger (1959). He also appeared with a cavalcade of international stars in the World War II magnum opus The Longest Day (1962), and then onto arguably his most "notorious" role as that of Marc Antony opposite Elizabeth Taylor in the hugely expensive Cleopatra (1963). This was, of course, the film that kick-started their fiery and passionate romance (plus two marriages), and the two of them appeared in several productions over the next few years including The V.I.P.s (1963), The Sandpiper (1965), the dynamic Who's Afraid of Virginia Woolf? (1966) and The Taming of The Shrew (1967), as well as box office flops like The Comedians (1967). Burton did better when he was off on his own giving higher caliber performances, such as those in Becket (1964), the film adaptation of the Tennessee Williams play The Night of the Iguana (1964), the brilliant espionage thriller The Spy Who Came in from the Cold (1965) and alongside Clint Eastwood in the World War II action adventure film Where Eagles Dare (1968).
His audience appeal began to decline somewhat by the end of the 1960s as fans turned to younger, more virile male stars, however Burton was superb in Anne of the Thousand Days (1969) as King Henry VIII, he put on a reasonable show in the boring Raid on Rommel (1971), was over the top in the awful Villain (1971), gave sleepwalking performances in Hammersmith Is Out (1972) and Bluebeard (1972), and was wildly miscast in the ludicrous The Assassination of Trotsky (1972).
By the early 1970s, quality male lead roles were definitely going to other stars, and Burton found himself appearing in some movies of dubious quality, just to pay the bills and support family, including Divorce His - Divorce Hers (1973) (his last on-screen appearance with Taylor), The Klansman (1974), Brief Encounter (1974), Jackpot (1974) (which was never completed) and Exorcist II: The Heretic (1977). However, he won another Oscar nomination for his excellent performance as a concerned psychiatrist in Equus (1977). He appeared with fellow acting icons Richard Harris and Roger Moore in The Wild Geese (1978) about mercenaries in South Africa. While the film had a modest initial run, over the past thirty-five years it has picked up quite a cult following. His final performances were as the wily inquisitor "O'Brien" in the most recent film version of George Orwell's dystopian 1984 (1984), in which he won good reviews, and in the TV mini series Ellis Island (1984). He passed away on August 5, 1984 in Celigny, Switzerland from a cerebral hemorrhage.- Actor
- Soundtrack
John Gavin, the American film and TV actor, businessman and diplomat who was Ronald Reagan's first Ambassador to Mexico, was born Juan Vincent Apablasa in Los Angeles, California.
The future "Jack" Gavin was a fifth-generation Angeleno, the son of Delia Diana Pablos and Juan Vincent Apablasa, and was of Mexican, Chilean, and Spanish ancestry, a descendant of early landowners in Spanish California and the powerful Pablos family of the Mexican state of Sonora. His stepfather was Herald Ray Golenor. John had a fluency in Spanish that aided him in his career in diplomacy. He graduated with honors from Stanford University, majoring in Latin American economic history. "Law, Latin America and diplomacy were my early interests," Gavin later remembered. Too young to participate in World War II, he did serve in the military during the Korean Conflict. He was commissioned an officer in the U.S. Navy in 1952, where he served in naval air intelligence until his 1955 discharge. After his hitch in the Navy, Universal -- the home studio of 6'5" heartthrob Rock Hudson, who was on his way to becoming the top box office star in America -- offered the 6'4" Gavin a screen-test and a contract with the studio. Studio bosses always liked internal competition to keep the pressure on their major stars; Metro-Goldwyn-Mayer signed Robert Taylor as a young backup to the King of Hollywood Clark Gable, and similarly, Gavin was positioned as the "next Rock Hudson".
Tall, dark and handsome, Gavin debuted in Behind the High Wall (1956), and three years later, in 1959, he had his first major lead in Douglas Sirk's remake of Imitation of Life (1959) opposite Lana Turner. Sirk, whose Ross Hunter-produced melodramas of the mid-1950's made Hudson a superstar, first directed Gavin in the role of a German soldier in his adaptation of Erich Maria Remarque's A Time to Love and a Time to Die (1958) the year before. Imitation of Life (1959), which was produced by Ross Hunter in his typical lavish style, was a huge hit. Gavin was on the road to becoming a major Hudson-style heart-throb, it seemed.
The following year, Gavin achieved cinematic immortality by appearing in two classics in supporting roles, as Sam Loomis in Alfred Hitchcock's Psycho (1960) and as Julius Caesar in Stanley Kubrick's Spartacus (1960). Of Psycho (1960) and Spartacus (1960), he has said, "I didn't have an inkling they would be classics. Had I realized that, perhaps I would have paid more attention." The momentum of his cinema career petered out after appearing opposite Susan Hayward in the 1961 remake of Fannie Hurst's Back Street (1961), though he did move on to star in two television series during the 1960s, Destry (1964) and Convoy (1965). Both series were produced by companies that were subsidiaries of the Universal-M.C.A., Revue Studios and Universal TV, created by the legendary agent and studio boss Lew Wasserman, the éminence grise behind Ronald Reagan's movie, TV and political careers. More importantly, in 1961, he was appointed special adviser to the secretary general of the Organization of American States, a position he held until 1973. He also performed task-group work for the Department of State and the Executive Office of the President. From 1966 to 1973, he also served on the board of the Screen Actors Guild and was guild president from 1971-1973. For the next eight years, he was engaged in business activities, many of which took him to Mexico and other Latin American countries. The producers of the James Bond series signed him to replace George Lazenby as James Bond in Diamonds Are Forever (1971), until they convinced Sean Connery to reprise the role with a $1 million charitable contribution and a $1 million salary. Thus, Gavin lost out on what could have been his career break into the big-time. However, he did not lament the loss of the role. If he had been a more successful actor, it "might have prevented me from fulfilling my real childhood dream: to be U.S. ambassador to Mexico."
During the 1970s, Gavin made some more movies, toured in summer stock in a production of The Fantasticks (Gavin has a fine baritone voice), and appeared on Broadway and in the touring show of the musical Seesaw (1973). He ended the decade by starring in TV mini-series Doctors' Private Lives (1979); he left show business to pursue business interests. The 1980s brought America a new president, and on May 7, 1981, Republican Gavin was appointed Ambassador to Mexico by President Reagan, serving until June 10, 1986. The American diplomatic mission in Mexico, one of the largest in the world, employed more than 1,000 American and Mexican employees tasked by over a dozen U.S. government agencies in consulates and offices throughout Mexico.
Gavin married the former stage and television actress Constance Towers in 1974. Each partner had two children from previous marriages. Gavin's daughter, Christina Gavin, followed in his footsteps and became an actress.
Since leaving government service, Gavin has become a successful businessman and civic leader, co-founding and managing successful ventures in the U.S. and Latin America. In 1986, Gavin was named president of Univisa Satellite Communications, a subsidiary of Univisa, Inc. He is founder/chairman of Gamma Holdings and serves on the boards of Apex Mortgage Capital, International Wire Holdings, and KKFC. Inc, and is a trustee and director of certain Merrill Lynch mutual funds. He is also a member of the Latin America Strategy Board of Hicks, Muse, Tate & Furst. Previously he was a managing director and partner of Hicks, Muse, Tate & Furst (Latin America) as well as a director of Atlantic Richfield (where he had served as vice president of federal and international relations). He also served on the boards of Dresser Industries, Claxson and several other major corporations. Gavin also serves on the boards of several non-profit corporations, pro bono, including The Anderson Graduate School of Management at UCLA, Loyola Marymount University, and the California Community Foundation. Gavin also is a member of the Congressional Policy Advisory Board as a defense and foreign policy expert.
Gavin served as founding Chairman and Chief Executive Officer of The Century Council's from May 1991 until December 1994, then served on the Council's Advisory Board until 1996. The Century Council, a non-profit organization dedicated to fighting alcohol abuse, focuses on drunk driving and underage drinking problems and is supported by America's leading distillers.
John died on February 9, 2018 in Beverly Hills.- Actor
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- Soundtrack
Jeffrey Hunter was born Henry Herman McKinnies Jr. on November 25, 1926 in New Orleans, Louisiana, an only child. His parents met at the University of Arkansas, and when he was almost four his family moved to Milwaukee, Wisconsin. In his teens, he acted in productions of the North Shore Children's Theater and, from 1942 to 1944, performed in summer stock with the local Port Players, along with Eileen Heckart, Charlotte Rae and Morton DaCosta. Hunter was also a radio actor at WTMJ, getting his first professional paycheck in 1945 for the wartime series "Those Who Serve." After graduation from Whitefish Bay High School, where he was co-captain of the football team, he enlisted in the United States Navy and underwent training at Great Lakes Naval Station, Illinois, in 1945-1946, but on the eve of his shipping out for active duty in Japan he took ill and received a medical discharge from the service.
Hunter attended and graduated from Northwestern University with a bachelor's degree in 1949, where he acquired more stage experience in Sheridan's "The Rivals" and Ruth Gordon's "Years Ago". He also did summer stock with Northwestern students at Eagles Mere, Pennsylvania in 1948, worked on two Northwestern Radio Playshop broadcasts, was president of Phi Delta Theta Fraternity, and was active in the campus film society with David Bradley, later acting in director David Bradley's production of Julius Caesar (1950) in 1949. He then attended graduate school at the University of California at Los Angeles, where he studied radio and drama. He was in the cast of a UCLA production of Arthur Miller's "All My Sons" in May, 1950; on opening night, the good-looking Hunter drew the attention of talent scouts from Paramount and 20th Century-Fox Studios.
Hunter made a screen test with Ed Begley in a scene from "All My Sons" at Paramount (where he met Barbara Rush, his future wife), but after an executive shake-up at that studio derailed his hiring, he was signed by 20th Century Fox (where he remained under contract until 1959) and within a month was sent on location in New York for Fourteen Hours (1951). Hunter was kept fairly busy in pictures, working his way from featured roles to starring roles to first-billing within two years in Sailor of the King (1953). His big break came with John Ford's classic, The Searchers (1956), where he played the young cowboy who accompanies John Wayne on his epic search for a child kidnapped by Comanches. Hunter got excellent reviews for his performance in this film and justifiably so, as he held his own well with the veteran Wayne.
Starring roles in two more John Ford movies followed, and in 1960, Hunter had one of his best roles in Hell to Eternity (1960), the true story of World War II hero Guy Gabaldon. That same year, Hunter landed the role for which he is probably best known (although it's far from his best work), when he played Jesus in producer Samuel Bronston's King of Kings (1961), which due to Hunter's still youthful looks at 33, was dubbed by irreverent Hollywood wags "I Was a Teenage Jesus." After the cancellation of his Western series Temple Houston (1963), and his decision not to continue in the lead role of the current series Star Trek (1966), his career took a downturn, and Hunter eventually wound up in Europe working on cheap Westerns, at the time a sure sign of a career in trouble.
While in Spain in November 1968 to film Cry Chicago (¡Viva América!), a story about the Chicago Mafia, Hunter was injured in an on-set explosion when a car window near him, which had been rigged to explode outward, accidentally exploded inward. Hunter sustained a serious concussion. According to Hunter's wife Emily, he "went into shock" on the flight back to the United States after filming and "couldn't speak. He could hardly move." After landing, Hunter was taken to Good Samaritan Hospital in Los Angeles, but doctors could not find any serious injuries except for a displaced vertebra and a concussion.
On the afternoon of May 26, 1969, Hunter suffered an intracranial hemorrhage while walking down a three-stair set of steps at his home in Van Nuys, California. He fell, knocked over a planter, and struck his head on the banister, fracturing his skull. He was found unconscious by Frank Bellow, an actor and a friend of Hunter's, who came for a visit, and taken to Valley Presbyterian Hospital, where he underwent brain surgery. He died at about 9:30 the following morning at the age of 42.- Actress
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This elegant, lovely blonde singer/actress initially had designs on becoming an opera singer. Born in Montana on May 20, 1933, and christened Constance Mary Towers, she appeared on radio as a child singer. Her family moved to New York where she subsequently studied at the Julliard School of Music and the American Academy of the Dramatic Arts (AADA). A chance casting in a summer production of "Carousel" led her away from her operatic aspirations and into the musical theater arena.
Before she settled into this, however, Constance gained early exposure on the chic nightclub circuit and fostered an attempt at stardom via films. She co-starred with Frankie Laine playing a school teacher in the modest movie musical Bring Your Smile Along (1955), and appeared in exceptionally strong ingénue roles in the movie dramas The Horse Soldiers (1959) starring John Wayne and Sergeant Rutledge (1960) opposite Jeffrey Hunter. Director Samuel Fuller cast her against type in some of his highly offbeat dramas in the early 1960s. She played a stripper girlfriend in Shock Corridor (1963) and in The Naked Kiss (1964) gave a no-holds-barred performance as a former prostitute trying to clean up her act. While TV guest appearances were frequent on such shows as "The Bob Cummings Show," "The Outer Limits," "Zane Grey Theatre," and multiple appearances on "Perry Mason," films were few and far between.
By this time she was starting to settle in as a pristine musical leading lady. After a 1960 performance as missionary Sarah in "Guys and Dolls," Constance made her Broadway debut in the title role of "Anya" (1965), in which she played the title role of the Russian princess Anastasia. Heralded performances in "Carousel" (1966) and "The Sound of Music" (1967), in which she won the Outer Critic's Circle Award as Maria, not to mention a Broadway revival of "The King and I" opposite Yul Brynner truly put her on the musical map. Her run with Brynner lasted nearly 800 performances. She had earlier played the school teacher Anna off-Broadway opposite Michael Kermoyan in 1972. Other sterling stage appearances included "Kiss Me Kate," "42nd Street," "Oklahoma!," "Camelot" and "Mame." She also starred in the musical "Ari," an adaptation of the Leon Uris novel "Exodus."
TV proved a sturdy medium as well. In her early days, she made singing appearances on Ed Sullivan's The Ed Sullivan Show (1948) and, in dramatic roles, was a frequent glamorous suspect on Perry Mason (1957). As she matured, her sharp, glacial, strikingly handsome features also worked very well for her in unsympathetic aristocratic roles on daytime. Winning regular spots on Love Is a Many Splendored Thing (1967), The Young and the Restless (1973) and Sunset Beach (1997), she did her most consistent work on Capitol (1982), in which she played Clarissa McCandless for five seasons. For nearly three decades she courted favor with audiences stealing scenes on a regular basis on General Hospital (1963), in which she plays the inherently wicked Helena Cassadine, a role originated by the legendary Elizabeth Taylor. Recent films have included The Next Karate Kid (1994), The Relic (1997) and A Perfect Murder (1998) starring Michael Douglas and Gwyneth Paltrow, in which she played Paltrow's mother.
Constance also enjoyed a resurgence on prime-time TV with a sprinkling of guest parts on L.A. Law (1986), Designing Women (1986), The Fresh Prince of Bel-Air (1990), Star Trek: Deep Space Nine (1993), "Caroline in the City," Frasier (1993), Baywatch (1989), and Providence (1999). She received an Emmy nomination for her role in the single episode drama special on CBS Daytime 90 (1974) entitled "Once in Her Life." Millennium on-camera appearances have included the films The Awakening of Spring (2008) and The Storyteller (2018) and TV work on such shows as "Providence," "Criminal Minds," "The 4400" and "Cold Case."
Constance was married since 1974 to one-time actor and former Mexican ambassador John Gavin. It was the second marriage for both, and lasted for 44 years until his death in 2018. The handsome couple have two children: Cristina and Maria Gavin. Constance also has two children, Michael and Maureen McGrath, from her prior marriage to Panamanian businessman Eugene McGrath. As a result of husband Gavin's civic work, she became actively involved in a multitude of charities. "Project Connie" not only offered aid to those in need of medical and rehabilitation assistance after the Mexican earthquake of 1985, it has served as an adoption placement agency to hundreds of children from Mexico to El Salvador. She has also involved herself with the Children's Bureau of California, the National Health Foundation, and the Red Cross and the Blue Ribbon of Los Angeles.- Music Artist
- Actor
- Music Department
Elvis Aaron Presley was born on January 8, 1935 in East Tupelo, Mississippi, to Gladys Presley (née Gladys Love Smith) and Vernon Presley (Vernon Elvis Presley). He had a twin brother who was stillborn. In 1948, Elvis and his parents moved to Memphis, Tennessee where he attended Humes High School. In 1953, he attended the senior prom with the current girl he was courting, Regis Wilson. After graduating from high school in Memphis, Elvis took odd jobs working as a movie theater usher and a truck driver for Crown Electric Company. He began singing locally as "The Hillbilly Cat", then signed with a local recording company, and then with RCA in 1955.
Elvis did much to establish early rock and roll music. He began his career as a performer of rockabilly, an up-tempo fusion of country music and rhythm and blues, with a strong backbeat. His novel versions of existing songs, mixing 'black' and 'white' sounds, made him popular - and controversial - as did his uninhibited stage and television performances. He recorded songs in the rock and roll genre, with tracks like "Jailhouse Rock" and "Hound Dog" later embodying the style. Presley had a versatile voice and had unusually wide success encompassing other genres, including gospel, blues, ballads and pop music. Teenage girls became hysterical over his blatantly sexual gyrations, particularly the one that got him nicknamed "Elvis the Pelvis" (television cameras were not permitted to film below his waist).
In 1956, following his six television appearances on The Dorsey Brothers' "Stage Show", Elvis was cast in his first acting role, in a supporting part in Love Me Tender (1956), the first of 33 movies he starred in.
In 1958, Elvis was drafted into the military, and relocated to Bad Nauheim, Germany. There he met 14-year old army damsel Priscilla Ann Wagner (Priscilla Presley), whom he would eventually marry after an eight-year courtship, and by whom he had his only child, Lisa Marie Presley. Elvis' military service and the "British Invasion" of the 1960s reduced his concerts, though not his movie/recording income.
Through the 1960s, Elvis settled in Hollywood, where he starred in the majority of his thirty-three movies, mainly musicals, acting alongside some of the most well known actors in Hollywood. Critics panned most of his films, but they did very well at the box office, earning upwards of $150 million total. His last fiction film, Change of Habit (1969), deals with several social issues; romance within the clergy, an autistic child, almost unheard of in 1969, rape, and mob violence. It has recently received critical acclaim.
Elvis made a comeback in the 1970s with live concert appearances starting in early 1970 in Las Vegas with over 57 sold-out shows. He toured throughout the United States, appearing on-stage in over 500 live appearances, many of them sold out shows. His marriage ended in divorce, and the stress of constantly traveling as well as his increasing weight gain and dependence upon stimulants and depressants took their toll.
Elvis Presley died at age 42 on August 16, 1977 at his mansion in Graceland, near Memphis, shocking his fans worldwide. At the time of his death, he had sold more than 600 million singles and albums. Since his death, Graceland has become a shrine for millions of followers worldwide. Elvis impersonators and purported sightings have become stock subjects for humorists. To date, Elvis Presley is the only performer to have been inducted into three separate music 'Halls of Fame'. Throughout his career, he set records for concert attendance, television ratings and recordings sales, and remains one of the best-selling and most influential artists in the history of popular music.- Actress
- Soundtrack
Born in India to South African parents, Juliet studied to be a dancer from the age of 4. Attending the Royal Academy of Dance, by the time Juliet was 14, she was deemed too tall to enter the world of ballet. She signed as a chorus dancer with the London Palladium and then pursued a career as a dancer in European nightclubs. While dancing in Paris, she was spotted by Hollywood choreographer Hermes Pan and signed to a role in the movie Can-Can (1960). While rehearsing for the movie, Soviet Premier Khrushchev was invited to watch the then-unknown Prowse and others rehearsing their steps. The next day, he denounced the dance as immoral and it was Prowse's photo that accompanied the news across newspapers worldwide. An instant celebrity, Juliet shot to stardom with her acting and dancing and the tabloids filled with her romance with star Frank Sinatra. That same year, she also appeared with Elvis Presley in G.I. Blues (1960) and again the tabloids followed her.
She appeared in more films the next year but, as her celebrity status waned, so did her movie career. Her engagement to Sinatra in 1962 fueled her nightclub act, but did nothing for her movie career. In 1965, she moved to television with the series Mona McCluskey (1965), playing a nutty Hollywood starlet, but the show soon ended. Her big-screen career ended with Run for Your Wife (1965) and she, thereafter, appeared on the stage and on the nightclub circuit. Some of her stage shows included "Sweet Charity", "Kismet", "Irma La Douce", "Mame" and "The Pajama Game". She also appeared as a guest on Television but, most of the time, she worked in her nightclub act. In 1994, she was diagnosed with pancreatic cancer.- 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.- Albert David Hedison Jr. was born in Providence, Rhode Island, the elder son of Albert and Rose Hedison, naturalized United States citizens from Armenia. His father owned a jewelry enameling business and his son was expected to follow in his footsteps. Young Al had other ideas, having put his sights on an acting career after seeing Tyrone Power on the screen in Blood and Sand (1941).
Following the completion of military service in the navy (as a Seaman 2nd Class, working on mothballing decommissioned warships), he enrolled at Brown University. Three years later, he joined the Neighborhood Playhouse School in Manhattan and studied acting under Sanford Meisner. He then underwent further training at the Actor's Studio with the legendary Lee Strasberg.
When he finally made his theatrical debut he was billed as 'Al Hedison'. Voted most promising newcomer for his performance in the off-Broadway play "A Month in the Country", he received a Theatre World Award. More importantly, this opened the doors to work in the film business, albeit slowly. One of a myriad of struggling actors, Hedison had taken a temporary job as a radio announcer for a local station in North Carolina to make ends meet. Upon his return to New York, the offers began to come in and he made his screen bow in 1954.
His first significant role was as the unfortunate scientist André Delambre whose matter transmitter experiments end up with him being turned into The Fly (1958). It did not end well for the poor man. For the actor, however, it set the tone for other forays into the genres of fantasy and science fiction, notably as Ed Malone in The Lost World (1960) and as Captain Lee Crane in Voyage to the Bottom of the Sea (1964) (arguably his most famous role), both Irwin Allen productions. He later recalled really 'hitting it off' with co-star Richard Basehart, saying "Richard and I had real chemistry. He taught me so much about being camera ready when I needed to be. Television filming is so very fast, we always had to keep moving on."
Under contract to 20th Century Fox from 1958, Hedison next starred in the Cold War spy series Five Fingers (1959) portraying the part of an American counterintelligence officer (the accompanying change of his stage moniker to 'David Hedison' came about at the insistence of NBC and Fox). By the early 60s, Hedison had become a much sought-after, robust lead for made-for-TV films and TV series. He had befriended the actor Roger Moore while filming an episode of The Saint (1962) and this paved the way for him to appear in two James Bond films -- Live and Let Die (1973) and Licence to Kill (1989) -- on both occasions as CIA operative Felix Leiter. Over the years followed numerous guest spots on crime dramas like The F.B.I. (1965), Cannon (1971), Ellery Queen (1975), Barnaby Jones (1973) and Murder, She Wrote (1984). In 2004, he joined the regular cast of the TV soap The Young and the Restless (1973) for some fifty episodes. Ultimately, however, he came to regard the stage as his favorite medium, saying "When I go back to the theater, I feel good about myself. When I do films or TV, it's to make a little bread to pay my mortgage..." - Actress
- Producer
- Additional Crew
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.- Actress
- Make-Up Department
- Producer
At just 18, Nancy Kwan was studying dance with England's Royal Ballet School, when she was spotted by producer Ray Stark, who tested her and gave her the starring role of a free-spirited Hong Kong prostitute who captivates artist William Holden in The World of Suzie Wong (1960). She followed it the next year with the hit musical, Flower Drum Song (1961), and became one of Hollywood's most visible Asian actresses. Born in China to a Chinese father and British mother, Kwan spent the 1960s commuting between film roles in America and Europe (including the pilot for Hawaii Five-O (1968)), but faded from view in the West, when she returned to her native Hong Kong in 1972 to be with her critically ill father. Divorced from her second husband, screenwriter David Giler, and with a young son from her first marriage to Austrian hotelier Peter Pock, Kwan intended to stay a year, but wound up staying a decade.
As managing director of her own production company, she produced and directed dozens of commercials for the Southeast Asia market. She also acted in a spate of films made for Southeast Asian audiences, including "Fear" (1977) (aka Night Creature (1978)), which introduced her to filmmaker Norbert Meisel, who became her third husband. They returned to the US in 1979 so that her teenage son, Bernie Pock, could complete his education. He was a martial-arts master, fluent in Chinese, and became a stunt coordinator and actor before his untimely death.
After returning to the US, Kwan appeared in numerous TV series, the NBC miniseries, Noble House (1988), and the CBS made-for-TV movie, Miracle Landing (1990). She's politically active as the spokeswoman for the Asian-American Voters Coalition, and touts a beauty product, Oriental Pearl Cream, in TV spots. Kwan was at the ceremonies in Los Angeles at Hollywood Park, where the Asian community gathered to watch the handover of Hong Kong to the government of China.- Actor
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- Soundtrack
Noted these days for his dashing, sporting, jet-setting playboy image and perpetually bronzed skin tones in commercials, film spoofs and reality shows, George Hamilton was, at the onset, a serious contender for dramatic film stardom. Born George Stevens Hamilton in Memphis, TN, on August 12, 1939, the son of gregarious Southern belle beauty Anne Lucille (Stevens) Potter Hamilton Hunt Spaulding, and her husband (of four), George William "Spike" Hamilton, a touring bandleader. Moving extensively as a youth due to his father's work (Arkansas, Massachusetts, New York, California), young George got a taste of acting in plays while attending Palm Beach High School. With his exceedingly handsome looks and attractive personality, he took a bold chance and moved to Los Angeles in the late 1950s.
MGM (towards the end of the contract system) saw in George a budding talent with photogenic appeal. It wasted no time putting him in films following some guest appearances on TV. His first film, a lead in Crime & Punishment, USA (1959), was an offbeat, updated adaptation of the Fyodor Dostoevsky novel. While the film was not overwhelmingly successful, George's heartthrob appeal was obvious. He was awarded a Golden Globe for "Most Promising Newcomer" as well as being nominated for "Best Foreign Actor" by the British film Academy (BAFTA). This in turn led to an enviable series of film showcases, including the memorable Southern drama Home from the Hill (1960), which starred Robert Mitchum and Eleanor Parker and featured another handsome, up-and-coming George (George Peppard); Angel Baby (1961), in which he played an impressionable lad who meets up with evangelist Mercedes McCambridge; and Light in the Piazza (1962) (another BAFTA nomination), in which he portrays an Italian playboy who falls madly for American tourist Yvette Mimieux to the ever-growing concern of her mother Olivia de Havilland. Along with the good, however, came the bad and the inane, which included the dreary sudsers All the Fine Young Cannibals (1960) and By Love Possessed (1961) and the youthful spring-break romps Where the Boys Are (1960), which had Connie Francis warbling the title tune while slick-as-car-seat-leather George pursued coed Dolores Hart, and Looking for Love (1964), which was more of the same.
Not yet undone by this mixed message of serious actor and glossy pin-up, George went on to show some real acting muscle in the offbeat casting of a number of biopics -- as Moss Hart in Act One (1963), an overly fictionalized and sanitized account of the late playwright (the real Moss should have looked so good!), as ill-fated country star Hank Williams in Your Cheatin' Heart (1964), and as the famed daredevil Evel Knievel (1971).
The rest of the '60s and '70s, however, rested on his fun-loving, idle-rich charm that bore a close resemblance to his off-camera image in the society pages. As the 1960s began to unfold, he started making headlines more as a handsome escort to the rich, the powerful and the beautiful than as an acclaimed actor -- none more so than his 1966 squiring of President Lyndon B. Johnson's daughter Lynda Bird Johnson. He was also once engaged to actress Susan Kohner, a former co-star. Below-average films such as Doctor, You've Got to Be Kidding! (1967), A Time for Killing (1967) and The Power (1968) effectively ended his initially strong ascent to film stardom.
From the 1970s on George tended to be tux-prone on standard film and TV comedy and drama, whether as a martini-swirling opportunist, villain or lover. A wonderful comeback for him came in the form of the disco-era Dracula spoof Love at First Bite (1979), which he executive-produced. Nominated for a Golden Globe as the campy neck-biter displaced and having to fend off the harsh realities of New York living, he continued on the parody road successfully with Zorro: The Gay Blade (1981) in the very best Mel Brooks tradition.
This renewed popularity led to a one-year stint on Dynasty (1981) during the 1985-1986 season and a string of fun, self-mocking commercials, particularly his Ritz Cracker and (Toasted!) Wheat Thins appearances that often spoofed his overly tanned appearance. In recent times he has broken through the "reality show" ranks by hosting The Family (2003), which starred numerous members of a traditional Italianate family vying for a $1,000,000 prize, and participating in the second season of ABC's Dancing with the Stars (2005), where his charm and usual impeccable tailoring scored higher than his limberness. On the tube he can still pull off a good time, whether playing flamboyant publisher William Randolph Hearst in Rough Riders (1997), playing the best-looking Santa Claus ever in Very Cool Christmas (2004), hosting beauty pageants or making breezy gag appearances. In 1989 he started a line of skin-care products and a chain of tanning salons.
Into the millennium, he has had featured roles in the "opera singer trio reunion" comedy Off Key (2001) also starring Joe Mantegna and Danny Aiello; the offbeat underground film Reflections of Evil (2002); the comedy romps The L.A. Riot Spectacular (2005) and Melvin Smarty (2012); the political drama The Congressman (2016); the family dramedy Silver Skies (2016); and the romantic comedy Swiped (2018). On TV, he enhanced several programs including "Nash Bridges," "Pushing Daisies," "Hot in Cleveland" and "Grace and Frankie." He also had a recurring role on the series American Housewife (2016). Beginning in the summer of 2016, Hamilton appeared in TV commercials as the "Extra Crispy" sun-tanned version of KFC's Colonel Harland Sanders. He later played the Colonel on an episode of "General Hospital."
George managed one brief marriage to actress/TV personality Alana Stewart from 1972 to 1975 (she later married and divorced rock singer Rod Stewart), the pair have a son, actor Ashley Hamilton, born in 1974. Another son, George Thomas Hamilton, born in 2000, came from his involvement with Kimberly Blackford.- Actress
- Music Department
- Additional Crew
Singer, composer, actress, entertainer and publisher Connie Francis was educated at Arts High School and was a music student of her father. At age 11 she appeared on Arthur Godfrey's Talent Scouts (1948) as a singer and accordionist. She has toured the US, Australia, New Zealand, South Africa and Europe, owned publishing companies, and has made many records. For a time she had her own television show, and has performed in nightclubs and in concert. Joining ASCAP in 1959, her popular-song compositions include "Senza Mama" and "Italian Lullaby".