Santa Barbara Cemetery
The men and women interred at Santa Barbara Cemetery in Santa Barbara, California.
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British leading man of primarily American films, one of the great stars of the Golden Age. Raised in Ealing, the son of a successful silk merchant, he attended boarding school in Sussex, where he discovered amateur theatre. He intended to attend Cambridge and become an engineer, but his father's death cost him the financial support necessary. He joined the London Scottish Regionals and at the outbreak of World War I was sent to France. Seriously wounded at the battle of Messines--he was gassed--he was invalided out of service scarcely two months after shipping out for France. Upon his recovery he tried to enter the consular service, but a chance encounter got him a small role in a London play. He dropped other plans and concentrated on the theatre, and was rewarded with a succession of increasingly prominent parts. He made extra money appearing in a few minor films, and in 1920 set out for New York in hopes of finding greater fortune there than in war-depressed England. After two years of impoverishment he was cast in a Broadway hit, "La Tendresse". Director Henry King spotted him in the show and cast him as Lillian Gish's leading man in The White Sister (1923). His success in the film led to a contract with Samuel Goldwyn, and his career as a Hollywood leading man was underway. He became a vastly popular star of silent films, in romances as well as adventure films. The coming of sound made his extraordinarily beautiful speaking voice even more important to the film industry. He played sophisticated, thoughtful characters of integrity with enormous aplomb, and swashbuckled expertly when called to do so in films like The Prisoner of Zenda (1937). A decade later he received an Academy Award for his splendid portrayal of a tormented actor in A Double Life (1947). Much of his later career was devoted to "The Halls of Ivy", a radio show that later was transferred to television The Halls of Ivy (1954). He continued to work until nearly the end of his life, which came in 1958 after a brief lung illness. He was survived by his second wife, actress Benita Hume, and their daughter Juliet Benita Colman.- After four years in the Drama Department of the University of California, Bernau appeared in the New York Shakespeare Festival's production of "Antony and Cleopatra". In 1964, he was featured in the National Company's touring production of "Who's Afraid of Virginia Woolf?".
- Paul Brooks was born on 10 April 1918 in San Francisco, California, USA. He was an actor, known for The Falcon's Alibi (1946), Roaring City (1951) and What, No Cigarettes? (1945). He was married to Jeanne Crain. He died on 1 October 2003 in Santa Barbara, California, USA.Plot: Central Block N, Grave 101
- Sabin Carr was born on 4 September 1904 in Dubuque, Iowa, USA. Sabin was a producer, known for Harlem on the Prairie (1937). Sabin died on 11 September 1983 in Santa Barbara, California, USA.Plot: Summit Section, Channel Addition, Lot 33
- Actor
- Stunts
- Additional Crew
Bill Cartledge was born on 4 October 1914 in Birmingham, Alabama, USA. He was an actor, known for Racing Luck (1948), Harrigan's Kid (1943) and Fighting Fools (1949). He died on 11 July 1975 in Santa Barbara, California, USA.Plot: Central Section, Block- F- Grave- 199- Actress in US and UK films of the early 1930s. Born on a farm, Cherrill was discovered by Charles Chaplin while sitting beside him at a boxing match in Los Angeles; he introduced himself at intermission and hired her for her debut in City Lights (1931). She met husband Cary Grant at the premiere of Blonde Venus (1932) and stopped working after their marriage in 1933. At one time, lived in England as the wife of the Earl of Jersey. Finally settled happily in Santa Barbara.Plot: Chapel, Bay A, Niche 51
- Actress
- Additional Crew
Heather Grace Angel was born in Oxford, England, on February 9, 1909. She dabbled on the stage for a time before coming to California to try her luck on the screen. Heather was 20 years old when she landed a bit part for the 1929 film, Bulldog Drummond (1929). Although she didn't know it at the time, she would become a staple of that particular series eight years hence. That movie would be her only foray onto celluloid for two years. When Heather did return, she did so in 1931's A Night in Montmartre (1931). Not only did she land a part, but it was the leading role in the picture, starring as Annette Lefevre. Later that year, she again landed the leading role in the acclaimed The Hound of the Baskervilles (1931). Throughout the 1930s, Heather's services were in high demand. She kept very busy in such productions as Men of Steel (1932), Charlie Chan's Greatest Case (1933), Orient Express (1934), and Daniel Boone (1936). In 1937, she began playing Phyllis Clavering in the serial about Bulldog Drummond. Audiences delighted in catching the latest adventures of Drummond. After the last Drummond film, Bulldog Drummond's Bride in 1939, Heather went on her way in other films. Although she didn't have the leading role, she did appear in top movies such as 1940's Kitty Foyle (1940) and Pride and Prejudice (1940) and in 1943's Cry 'Havoc' (1943). After Lifeboat (1944) in 1944, Heather wasn't seen again on the silver screen until The Saxon Charm (1948) in 1948. As with other actresses, Heather's time had come and gone. Her last appearance anywhere was in 1979's television mini-series, Backstairs at the White House (1979) when she played President 'Harry Truman''s mother-in-law. On December 13, 1986, Heather died in Santa Barbara, California, of cancer. She was 77 years old.Plot: Mausoleum, Sanctuary of Life Eternal, Bay A, Tier 5, Niche 13- Actress
- Soundtrack
Jeanne Crain was born in Barstow, California, on May 25, 1925. The daughter of a high school English teacher and his wife, Jeanne was moved to Los Angeles not long after her birth after her father got another teaching position in that city. While in junior high school, Jeanne played the lead in a school production which set her on the path to acting. When she was in high school Jeanne was asked to take a screen test to appear in a film by Orson Welles. Unfortunately, she didn't get the part, but it did set her sights on being a movie actress.
After high school, Jeanne enrolled at UCLA to study drama. At the age of 18, Jeanne won a bit part in Fox Studio's film entitled The Gang's All Here (1943) and a small contract. Her next film saw Jeanne elevated to a more substantial part in Home in Indiana (1944) the following year, which was filmed in neighboring Kentucky. The movie was an unquestionable hit. On the strength of that box-office success, Jeanne was given a raise and star billing, as Maggie Preston, in the next film of 1944, In the Meantime, Darling (1944). Unfortunately, the critics not only roasted the film, but singled out Jeanne's performance in particular. She rebounded nicely in her last film of the year, Winged Victory (1944). The audiences loved it and the film was profitable.
In 1945, Jeanne was cast in State Fair (1945) as Margie Frake who travels to the fair and falls in love with a reporter played by Dana Andrews. Now, Jeanne got a bigger contract and more recognition. Later that year, Jeanne married Paul Brooks on New Year's Eve. Although her mother wasn't supportive of the marriage, the union lasted until her husband's death and produced seven children. The year 1947 was an off year for Jeanne, as she took time off to bear the Brooks' first child.
In 1949, Jeanne appeared in three films, A Letter to Three Wives (1949), The Fan (1949), and Pinky (1949). It was this latter film which garnered her an Oscar nomination as Best Actress for her role as Pinky Johnson, a nurse who sets up a clinic in the Deep South. She lost to Olivia de Havilland for The Heiress (1949). Jeanne left Fox after filming Vicki (1953) in 1953, with Jean Peters. She had made 23 films for the studio that started her career, but she needed a well-deserved change. As with any good artist, Jeanne wanted to expand her range instead of playing the girl-next-door types.
She went briefly to Warner Brothers for the filming of Duel in the Jungle (1954) in 1954. The film was lukewarm at best. Jeanne, then, signed a contract, that same year, with Universal Studios with promises of better, high profile roles. She went into production in the film Man Without a Star (1955) which was a hit with audiences and critics. After The Joker Is Wild (1957) in 1957, Jeanne took time off for her family and to appear in a few television programs. She returned, briefly, to film in Guns of the Timberland (1960) in 1960. The films were sporadic after that. In 1967, she appeared in a low-budget suspense yarn called Hot Rods to Hell (1966). Her final film was as Clara Shaw in 1972's Skyjacked (1972).
Jeanne died of a heart attack in Santa Barbara, California, on December 14, 2003. Her husband Paul Brooks had died two months earlier.Plot: Central section, block "n" near marker #154- Actor
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English-born Leslie Fenton came to the U.S. as a child. He journeyed to Hollywood in his late teens to break into the movies, and managed to get several jobs as an actor. He became a reliable supporting actor in many pictures in the 1930s, working his way up to leads in B pictures. He switched to directing later in the decade, and turned out a number of tight, well-made action pictures and several good westerns, the best of which was probably Streets of Laredo (1949). He retired from the industry in the early 1950s.- Al Gionfriddo was born on 8 March 1922 in Dysart, Pennsylvania, USA. He was married to Susan Carol Jacobsen and Arlene Lentz. He died on 15 March 2003 in Solvang, California, USA.Plot: Section M, Lot 51
GPS coordinates: 34.4190788, -119.6573105 (hddd.dddd) - Actress
- Soundtrack
Domino Harvey was born on 7 August 1969 in Belgravia, London, England, UK. She was an actress, known for Domino (2005). She died on 27 June 2005 in West Hollywood, California, USA.Plot: Ocean View Addition, Lot C-132- Actor
- Director
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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.Plot: Ocean View Add, C-132
GPS coordinates: 34.4178009, -119.6555634 (hddd.dddd)- Director
- Special Effects
- Cinematographer
After graduation from the University of California at Berkeley, Byron Haskin worked for a time as a newspaper cartoonist. He began his career in the film industry in 1920 as a commercial-industrial movie photographer, and then as a cameraman for Pathe and International Newsreel. Later he became an assistant director at Selznick Pictures. He was a cinematographer during the silent era, worked on special effects and helped to develop the technology that eventually brought sound to the film industry. He began directing in the late 1920s at Warner Brothers and journeyed to England in the early 1930s to make films there. Upon his return he was appointed head of the Warner Brothers Special Effects department. He returned to directing, and was responsible for Walt Disney's first live-action film, Treasure Island (1950). In the mid-'50s Haskin began a rewarding association with producer George Pal, for whom he shot what is probably his best-known film, the science-fiction classic The War of the Worlds (1953). Haskin would collaborate with Pal on three other films, The Naked Jungle (1954), Conquest of Space (1955) and The Power (1968). Fans will also remember Haskin for the cult-classic Robinson Crusoe on Mars (1964).- Mrs. Charles Howard was born on 22 September 1903 in Salinas, California, USA. She was married to Leslie Fenton and Charles Howard. She died on 31 March 1987 in Montecito, California, USA.Plot: Sunset section, Block C, Lot 25
- Robert Maynard Hutchins was one of the most noted educators of the twentieth century. The son of a New England clergyman and university president, Hutchins became the Yale Law School's youngest dean ever at age 28. At 31 he was named president of the University of Chicago, where his ideas about education were both lauded and condemned, but never ignored. While still at the University he became chairman of the board of editors of the Encyclopaedia Brittanica and also editor of the Great Books series, his brainchild. After leaving U of C he became an associate director of the Ford Foundation, and later the president of an offshoot of the Foundation, the Fund for the Republic. Hutchins' beliefs concerning civil liberties and the rights of man drew attacks from Sen. Joseph McCarthy and Congressional investigating committees, but the Fund was one of the few institutions to squarely confront McCarthyism on moral ground during the 1950s. In 1959 he founded the Center for the Study of Democratic Institutions, the mission of which was "to identify and clarify the basic issues of our time and widen the circles of discussion about them."
- Actor
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- Producer
Born in Canada, John Ireland was raised in New York. Performing as a swimmer in a water carnival, he moved into the legitimate theater, often appearing in minor roles in Broadway plays. His first big break in pictures came in 1945 when he appeared as Windy the introspective letter-writing G.I. in the classic war epic A Walk in the Sun (1945). Ireland was then often featured (mostly as a heavy) in several films. In 1949, he was nominated for best supporting actor for his role as the reporter in All the King's Men (1949). During the early 1950s, Ireland often starred as the emoting, brooding hero, almost exclusively in "B" pictures. In 1953, with his son Peter Ireland and wife, Joanne Dru, Ireland co-produced and co-directed the western mini-classic Hannah Lee: An American Primitive (1953) (aka Outlaw Territory). From the mid-'50s on. he appeared mainly in Italian "quickie" features and showed up occasionally in supporting roles in major pictures (Spartacus (1960)). Occasionally, his name was mentioned in tabloids of the times, in connection with young starlets, namely Natalie Wood and Sue Lyon. He was to play the role of the patriarch on the Ponderosa in Bonanza: The Next Generation (1988) but the series was not picked up. In addition to Hannah Lee: An American Primitive (1953), his best work was in Little Big Horn (1951) and The Bushwhackers (1951). In his later years, he owned and operated a tiny restaurant, Ireland's, in Santa Barbara, California.Plot: Mausoleum in the Pines, Block C4, Tier 6, Crypt 9- Actor
- Soundtrack
Murray Kinnell was born on 24 July 1889 in London, England, UK. He was an actor, known for The Public Enemy (1931), The Three Musketeers (1935) and Charlie Chan in Paris (1935). He was married to Henrietta Goodwin. He died on 11 August 1954 in Santa Barbara, California, USA.Plot: Vista Del Mar Section, Block -A-Grave-186- Katherine MacDonald is known for Maneater (2010).
- Eddie Mathews was born on 13 October 1931 in Texarkana, Texas, USA. He was married to Elizabeth Busch Burke, Sue Ann, Virjean Lauby and Judy Catherine King. He died on 18 February 2001 in La Jolla, California, USA.
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A former college athlete at the University of Texas, Fess studied drama in the early fifties and debuted in Springfield Rifle (1952). He made only a handful of movies until he was signed by Walt Disney to star in the "Davy Crockett" series. When Walt was looking for an actor to play the part of Davy, he screened the sci-fi movie Them! (1954) with James Arness. When he saw Fess in a scene, he chose him over Arness and Fess became an instant celebrity when "Davy Crockett, King of the Wild Frontier" debuted in 1955. His appeal with children was enormous with the coon-skinned hat, the #1 hit song "The Ballad Of Davy Crockett", The Davy Crockett Bubble Gum Cards and Comic Books. But the craze ended almost as fast as it started in 1956, and Fess was typecast. Fess appeared in other Disney movies dealing with the early years of Davey and also in non-Crockett parts such as Old Yeller (1957). By 1959, unable to achieve the success that he had gained as Crockett, his career had leveled off. He made guest appearances on a number of television shows, but his attempted return to television in the series Mr. Smith Goes to Washington (1962) was not successful. Unable to procure the rights to play Crockett from Disney, Fess tried the frontiersman role once again with the TV series Daniel Boone (1964). He played this role for six years and the fact that he had a beautiful red-headed wife in a color series did not hurt him at all. After Daniel Boone (1964), Fess retired from the screen and went into real estate, which was profitable. He was later forced to sue his "Daniel Boone" producers over the profits generated by the series.- Suzy Parker was born on 28 October 1932 in Long Island City, New York, USA. She was an actress, known for Funny Face (1957), Circle of Deception (1960) and The Best of Everything (1959). She was married to Bradford Dillman, Pierre de la Salle and Charles Ronald Staton. She died on 3 May 2003 in Montecito, California, USA.
- Carmen Phillips was born on 10 January 1937 in Chicago, Illinois, USA. She was an actress, known for Easy Rider (1969), One Step Beyond (1959) and It Started with a Kiss (1959). She was married to David Morin. She died on 22 September 2002 in Hollywood, California, USA.
- Actress
- Soundtrack
After achieving modest fame as an ice skater in her native Czechoslovakia, Vera Hruba was brought to the United States by Republic Pictures head Herbert J. Yates, who hoped to turn her into the next Sonja Henie. After featuring her in two "Ice Capades" movies, he added "Ralston" to her name and tried to pass her off as a leading lady. Hruba's English was so limited, she was forced to learn her lines phonetically. Her English improved, and directors said she tried hard to learn her craft, but bad acting and a thick accent made it difficult for audiences to accept her.- Actress
- Casting Director
- Casting Department
Peggy Rea was born on 31 March 1921 in Los Angeles, California, USA. She was an actress and casting director, known for Grace Under Fire (1993), The Dukes of Hazzard (1979) and Love Field (1992). She died on 5 February 2011 in Toluca Lake, California, USA.- Additional Crew
Kenneth Rexroth was born on 22 December 1905 in South Bend, Indiana, USA. He is known for In the Pink (1982), The Coney Island of Lawrence Ferlinghetti (1996) and Books and Authors (1956). He was married to Carol Tinker, Marthe Larsen, Marie Kass and Andree Dutcher. He died on 6 June 1982 in Montecito, California, USA.Plot: Sunset section, Block C, Grave 18- Writer
- Soundtrack
Marguerite Roberts was born on 21 September 1905 in Greeley, Colorado, USA. She was a writer, known for True Grit (1969), College Scandal (1935) and Honky Tonk (1941). She was married to John Sanford. She died on 17 February 1989 in Santa Barbara, California, USA.- Born Julian Lawrence Shapiro on 31 May 1904 in Harlem, John Sanford was a descendant of Russian immigrants, and trained as a lawyer, practising with his father, Philip. A chance encounter with a childhood friend, Nathanael West caused him to change his focus to writing. Abandoning his New York law practice, he published several short stories in literary journals, and then headed west for Hollywood. While a contract screenwriter at Paramount, he met and married Marguerite Roberts who was a screenwriter at MGM. Roberts persuaded him to turn down an offer of employment as a screenwriter at MGM, and concentrate on writing books while she made them a living as a screenwriter.
A Communist for most of his life, both he and his wife refused to co-operate with the House Un-American Activities Committee and were blacklisted by Hollywood for more than a decade. Sanford was the author of 24 published books, including his best known, "A More Goodly Country" published in 1975. - Director
- Writer
Robert B. Sinclair was born on 24 May 1905 in Toledo, Ohio, USA. He was a director and writer, known for Mr. and Mrs. North (1942), Shirley Temple's Storybook (1958) and The Detectives (1959). He was married to Heather Angel and Jane Buchanan. He died on 4 January 1970 in Montecito, California, USA.Plot: Mausoleum, Sanctuary of Life Eternal, Bay A, Tier 5, Niche 13- Actress
- Soundtrack
The daughter of a retired sea captain and his much-younger wife, actress Norma Varden was born and raised in turn-of-the-century London. A piano prodigy, she studied in Paris and appeared in concert in England during her teenage years. Acting, however, became her career of choice, studying at the Guildhall School of Music. She took her very first stage bow in a production of Peter Pan. In the adult role of Mrs. Darling, she was actually younger than the actors playing her children. In years to come, Norma would play a number of mature, lady-like roles that were much older than she was.
She performed Shakespeare in repertory and was at first cast in dramatic plays such as The Wandering Jew (1920-her West End debut) and Hamlet (1925) as the Player Queen. In various acting companies, she eventually found a flair for comedy and became the resident character comedienne for the famous Aldwych Theatre farce-ers from 1929 to 1933 à la Marx Bros. foil Margaret Dumont. Finding success there in the comedies A Night Like This and Turkey Time, she later recreated both roles on British film a couple of years later. She went on to prove herself a minor but avid scene-stealer in such movies as Evergreen (1934), The Iron Duke (1934), Stormy Weather (1935) and East Meets West (1936), quickly finding an amusing niche as a haughty society maven. She played both benevolent and supercilious with equal ease -- her height (5'7-1/2"), elongated oval face, vacant manner, plummy voice and slightly drowsy eyes adding immensely to the look and amusement of her characters.
In the early 1940s, the veteran actress visited California, accompanied by her ailing, widowed mother, for a take on the warmer climate and decided to permanently settle. Again, she found herself in demand as a now silvery-haired duchess, queen or Lady something, albeit in less meaty, sometimes even unbilled parts. Although she could dress down when called upon as a bar maid, nurse and landlady, she usually was asked to provide the requisite atmosphere for glossy, opulent settings. Her more noticeable roles came as lecherous Robert Benchley's wealthy, put-upon wife in The Major and the Minor (1942); the vile Lady Abbott in Forever Amber (1947); the giddy socialite nearly strangled by Robert Walker in Hitchcock's classic Strangers on a Train (1951); the impressively bejeweled wife of Charles Coburn, whom Marilyn Monroe fawns over in Gentlemen Prefer Blondes (1953); and the Von Trapp housekeeper Frau Schmidt in The Sound of Music (1965).
Norma became a steadfast radio and TV comedy foil during the 40s, 50s and 60s, often at the mercy of a Lucille Ball or Jack Benny. Her longest radio part was as Basil Rathbone's housekeeper on his Sherlock Holmes radio series. On TV, she appeared in such shows as Mister Ed (1961), The Beverly Hillbillies (1962), Bewitched (1964) and Batman (1966) She had recurring roles as Betty Hutton's aunt on The Betty Hutton Show (1959) and as Shirley Booth's neighbor on Hazel (1961). Never married, Norma's mother passed away in 1969, and the actress retired shortly after. She died of heart failure in 1989, a day before her 91st birthday.- Music Department
- Actor
- Writer
Alan Thicke was born on 1 March 1947 in Kirkland Lake, Ontario, Canada. He was an actor and writer, known for Growing Pains (1985), Raising Helen (2004) and The Goods: Live Hard, Sell Hard (2009). He was married to Tanya Callau, Gina Marie Tolleson and Gloria Loring. He died on 13 December 2016 in Burbank, California, USA.- Dark-haired, Ivy League-looking Bradford Dillman, whose white-collar career spanned nearly five decades, possessed charm and confident good looks that were slightly tainted by a bent smile, darting glance and edgy countenance that often provoked suspicion. Sure enough, the camera picked up on it and he played shady, highly suspect characters throughout most of his career.
The actor was born in San Francisco on April 14, 1930, to Dean and Josephine Dillman. Yale-educated, he graduated with a B.A. in English Literature. Following this he served with the US Marines in Korea (1951-1953) before focusing on acting as a profession. Studying at the Actors Studio, he spent several seasons apprenticing with the Sharon (CT) Playhouse before making his professional acting debut in "The Scarecrow" in 1953.
Dillman took his initial Broadway bow in Eugene O'Neill's play "Long Day's Journey Into Night" in 1956, originating the author's alter ego character Edmund Tyrone and winning a Theatre World Award in the process. This success put him squarely on the map and 20th Century-Fox took immediate advantage by placing the darkly handsome up-and-comer under contract. Cast in the melodrama A Certain Smile (1958), he earned a Golden Globe for "Most Promising Newcomer" playing a Parisian student who loses his girl (Christine Carère) to the worldly Italian roué Rossano Brazzi. He followed this with a strong ensemble appearance in In Love and War (1958), which featured a cast of young rising stars including Hope Lange and Robert Wagner. More acting honors followed after completing the film Compulsion (1959), which told the true story of the infamous 1920s kidnapping/murder case of Nathan Leopold and Richard Loeb. He went on to share a "Best Actor" award at the Cannes Film Festival with fellow co-stars Dean Stockwell, who played the other youthful murderer, and veteran Orson Welles.
Though he was a magnetic player poised for stardom, Dillman's subsequent films failed to serve him well and were generally unworthy of his talent. Though properly serious and stoic as the title character in Francis of Assisi (1961), the film itself was stilted and weakly scripted. Circle of Deception (1960) was a misguided tale of espionage and intrigue, but it did introduce him to his second wife, supermodel-cum-actress Suzy Parker. While A Rage to Live (1965) with Suzanne Pleshette was trashy soap material, The Plainsman (1966) was rather a silly, juvenile version of the Gary Cooper western classic. As a result of these missteps--and others--he began to top-line lesser quality projects or play supporting roles in "A" pictures. His nothing role as Robert Redford's college pal-turned Hollywood producer in The Way We Were (1973) and his major roles in the ludicrous The Swarm (1978) and Lords of the Deep (1989) became proof in the pudding. His last good film role was in O'Neill's The Iceman Cometh (1973), although he did play an interesting John Wilkes Booth in the speculative re-enactment drama The Lincoln Conspiracy (1977) and had a fun leading role in the Jaws (1975)-like spoof Piranha (1978).
Dillman bore up very well on TV over the years, subsisting on a plethora of mini-movies and guest spots on popular series, playing everything from turncoats to frauds and from adulterers to psychotics. He earned a Daytime Emmy for his appearance in Last Bride of Salem (1974) and starred in two series--Court Martial (1965), as a military lawyer, and King's Crossing (1982), as an alcoholic parent and teacher attempting to straighten out. He also spent a season on the established nighttime soap Falcon Crest (1981) in 1982.
A narrator, director and teacher of acting in later years. Bradford launched a late-in-the career sideline as an author. The football fan inside him compelled him to write "Inside the New York Giants" (1995), a book that rated players drafted by the team since 1967. Two years later he published his memoirs, the curiously-titled "Are You Somebody?: An Actor's Life." He retired from the screen after a few guest star shots on "Murder, She Wrote" in the mid-90s.
From 1956 to 1962, Dillman was married to Frieda Harding, and had two children, Jeffrey and Pamela. Following their divorce, he met well-known model-turned-actress Suzy Parker during the production of Circle of Deception (1960) and the couple married on April 20, 1963. They had three children, Dinah, Charles, and Christopher. Daughter Pamela Dillman has worked as an actress. Dillman was made a widower when Parker died on May 3, 2003. He lived for many years in Montecito, California, and helped raise money for medical research. He died in Santa Barbara, California on January 16, 2018, aged 87, from complications of pneumonia. - Actor
- Producer
- Writer
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.- Soundtrack
- Music Department
- Composer
Norman Gimbel was a native New Yorker who put his teaching degree from Columbia University into his safe and went downtown to pursue a career in songwriting instead. His first job in the music world was as an office boy for a music publisher in the famed Brill Building. There he met composer Larry Coleman and lyricist Joe Darion and with them wrote his first hit, "Ricochet Romance." Shortly after that, with composer-pianist Eddie Heywood, he wrote "Canadian Sunset."
His work caught the attention of Frank Loesser, who signed Gimbel as a contract writer. Under Loesser's guidance, he met composer Moose Charlap, with whom he wrote two Broadway musicals, Whoop-Up and The Conquering Hero.
In 1963, publisher Lou Levy introduced Gimbel to a young composer named Antonio Carlos Jobim. Gimbel would go on to write English versions of many of Jobim's songs, most notably the lyrics for "Meditation," "How Insensitive," "Agua de Beber (Water to Drink)," "Song of the Sabia," and "The Girl From Ipanema." Gimbel also wrote English lyrics for "Watch What Happens," and the Academy Award-nominated song "I Will Wait for You," both by Michel Legrand. For Jean "Toots" Thielemans he wrote the lyrics for his jazz waltz, "Bluesette."
In the spring of 1968, Gimbel moved to Hollywood where he became active in film and television. Among the composers he worked with there were Lalo Schifrin, Maurice Jarre, Quincy Jones, Jack Elliot, Bill Conti, Michel Colombier, Henry Mancini, Peter Matz, Pat Williams, Robert Folk, David Shire, Fred Karlin, and his daughter, Nelly Gimbel. His principal collaborator was Charles Fox.
Gimbel had some of his biggest successes with Fox, with whom he wrote TV title songs to "Happy Days," "Laverne and Shirley," "Wonder Woman," "Angie," and "The Paper Chase." Their collaboration also included "I Got A Name" for the 1973 film The Last American Hero. This became a Top 10 hit for Jim Croce. Fox and Gimbel also gave us "Killing Me Softly With His Song," which won the Grammy Award for Song of the Year in 1973 and was ranked No. 11 on BMI's 1999 list of "Top 100 Songs of the Century." Also with Fox he wrote "Richard's Window" for the film The Jill Kinmont story. This received an Academy Award Nomination in 1975. They received another Academy Award nomination in 1978 for "Ready to Take a Chance Again," from the film Foul Play. In collaboration with composer David Shire, for the 1979 film Norma Rae, he wrote "It Goes Like It Goes," the song that won Gimbel an Academy Award for Best Original Song.
Norman Gimbel's songs have appeared in over four hundred motion picture and television shows. Gimbel was inducted into the Songwriters Hall of Fame in 1984.- Actress
- Producer
- Soundtrack
Ernestine Jane Geraldine Russell was born on June 21, 1921, in Bemidji, Minnesota. Her father was a United States Army lieutenant and her mother had been a student of drama and an actress with a traveling troupe. Once Mr. Russell was mustered out of the service, the family took up residence in Canada but moved to California when he found employment there. The family was well-to-do and although Jane was the only girl among four brothers, her mother saw to it that she took piano lessons. In addition to music, Jane was interested in drama much as her mother had been and participated in high school stage productions. Upon graduation, Jane took a job as a receptionist for a doctor who specialized in foot disorders. Although she had originally planned on being a designer, her father died, and she had to go to work to help the family. Jane modeled on the side and was very much sought-after especially because of her figure.
She managed to save enough money to go to drama school, with the urging of her mother. She was signed by Howard Hughes for his production of The Outlaw (1943) in 1941, the film that was to make Jane famous. The film was not a classic by any means but was geared through its marketing to show off Jane's ample physical assets rather than acting abilities. Although the film was made in 1941, it was not released until two years later and then only on a limited basis due to the way the film portrayed Jane's assets. It was hard for the flick to pass the censorship board. Finally, the film gained general release in 1946. The film was a smash at the box office.
Jane did not make another film until 1945 when she played Joan Kenwood in Young Widow (1946). She had signed a seven-year contract with Hughes, and it seemed the only films he would put her in were those that displayed Jane in a very flattering light due to her body. Films such as His Kind of Woman (1951) and The Las Vegas Story (1952) did nothing to highlight her true acting abilities. The pinnacle of her career was in Gentlemen Prefer Blondes (1953) as Dorothy Shaw, with Marilyn Monroe. This film showed Jane's comedic side very well. Jane did continue to make films throughout the 1950s, but the films were at times not up to par, particularly with Jane's talents being wasted in forgettable movies to show off her sexy side. Films such as Gentlemen Marry Brunettes (1955) and The Revolt of Mamie Stover (1956) did do Jane's justice and were able to show exactly the fine actress she was.
After The Fuzzy Pink Nightgown (1957) (a flop), Jane took a hiatus from films, to dabble a little in television, returning in 1964 to film Fate Is the Hunter (1964). Unfortunately, the roles were not there anymore as Jane appeared in only four pictures during the entire decade of the 1960s. Her last film of the decade was The Born Losers (1967). After three more years away from the big screen, she returned to make one last film called Darker Than Amber (1970). Her last play before the public was in the 1970s when Jane was a spokesperson for Playtex bras. Had Jane not been wasted during the Hughes years, she could have been a bigger actress than what she was allowed to show. Jane Russell died at age 89 of respiratory failure on February 28, 2011, in Santa Maria, California.Although rumors circulated that she was buried at Santa Barbara Cemetery, she was in fact cremated at Santa Barbara Cemetery and her ashes were scattered at sea.- Actress
- Writer
Joan Hotchkis, veteran actress, writer, screenwriter, playwright and groundbreaking feminist performance artist, whose career spanned over five decades, has died. She was 95. She died on September 27 in Los Angeles of congestive heart failure, according to her daughter, Paula Chambers.
Hotchkis was the last surviving child of Preston Hotchkis and Katharine Bixby, civic leaders in Los Angeles with statewide and national influence throughout the last century, who led everything from the Metropolitan Water District to the California Historical Society. More importantly, Hotchkis was an exquisite human being: warm, generous, supportive, gracious, open-minded, and funny. She cared about each person she met and used her resources to uplift the downtrodden, especially women, artists and elders. Hotchkis was also ahead of her time in writing and starring in plays, a feature film and performance art with a progressive feminist viewpoint.
After earning a B.A. in Psychology from Smith College and an M.A. in Early Childhood Education from Bank Street Teacher's College, Hotchkis taught nursery school in New York "for about fifteen minutes" (her words) before becoming an actor in 1954 at the age of twenty-seven. She got work right away despite her inexperience. While home for the holidays, she auditioned for the leading role of Lizzie in "The Rainmaker" at the Players Ring theater in Hollywood and got the part, earning praise and encouragement from other actors.
Returning to New York, Hotchkis became a member of The Actors Studio, where she studied with Lee Strasberg. She was cast in numerous TV commercials and guest spots. While shooting one of those commercials, she met director Bob Foster; they married in 1958 and had a daughter, Paula.
Hotchkis played Myra on long-running soap opera "The Secret Storm," portrayed Stella in "Streetcar Named Desire" at the Northland Theater in Detroit, did summer stock, and debuted on Broadway in 1960 at the Cort Theatre in "Advise and Consent," with Conrad Bain, Ed Begley and Richard Kiley.
After divorcing in 1967, Hotchkis moved with Paula back to her hometown of Los Angeles, where she joined the Actors Studio West, and quickly landed guest spots on "Bewitched," "General Hospital" and more. She was the female lead opposite William Windom on "My World and Welcome To It" (1969-70), and played Dr. Nancy Cunningham, the sometime-girlfriend of Jack Klugman's Oscar Madison, on "The Odd Couple" (1971), a role for which she is still beloved today. Throughout the 70s, she guest starred on many shows including "Lou Grant," "Charlie's Angels," "Mannix," "The New Dick Van Dyke Show," "St. Elsewhere," "Marcus Welby" and "Barnaby Jones" before co-starring as the lascivious Lydia in the syndicated sitcom, "The Life and Times of Eddie Roberts" in 1980. On the big screen, she had roles in "The Late Liz," and "Old Boyfriends," and she co-starred opposite William Holden in the film "Breezy" (1973), directed by Clint Eastwood, and co-starred with Robby Benson and Glynnis O'Connor as Anna "Mama" Hartley in the cult classic, "Ode to Billie Joe" (1976).
Hotchkis had a gift for writing. With noted Method acting teacher Eric Morris, she co-wrote the now-classic acting handbook, "No Acting Please." In 1974, Hotchkis became a playwright with "Legacy," about the day an upper-class housewife spirals into a complete mental and emotional breakdown. She starred in the one-woman play at the Actors Studio West, directed by Morris. In 1975, Hotchkis turned screenwriter for the film adaptation and added other actors to portray the characters that she played in the stage version, with Karen Arthur directing the filmed version of "Legacy." It was the first feature film directed by Arthur and the first shot by cinematographer John Bailey and edited by Carole Littleton.
Shortly after the last shot of "Legacy" was in the can, Hotchkis was diagnosed with meningioma (a non-cancerous brain tumor) and had it successfully surgically removed, allowing her decades more productivity. Meanwhile, "Legacy" won the Best Newcomer Award at the Tehran International Film Festival. Photos from the fest show Hotchkis, still looking glamorous with her recently shaved head.
Surviving brain surgery changed Hotchkis' priorities: she gave up on TV and film and returned to the stage. At the Taper Too Theater, she played Fluffy Mother in "Cowboy Jack Street" (1976), followed by Madame Irma in "The Balcony" at the Odyssey Theater (1983). At the Oregon Shakespeare Festival, Hotchkis played Paulina in "A Winter's Tale," Lady Gay Spanker in "London Assurance," and Judith Bliss in "Hay Fever" (1983-84 season). At Milwaukee Repertory Theater, she played Isabella, Louise and Mrs. Kidd in "Top Girls," and Mrs. Sutphen in "A Woman Without Means" (1984-85 season). In Los Angeles, she played Mrs. Temptwell in "The Grace of Mary Traverse" at Los Angeles Theatre Works in 1988.
Memorably, Hotchkis portrayed Amanda Wingfield in "The Glass Menagerie" four times: at Los Angeles' Callboard and Fountain Theaters in 1981, at Nashville's James Polk Theater in 1982, at Cincinnati's Playhouse in The Park in 1985, and at Los Angeles Theater Center in 1988.
Inspired by a "writing for performance" workshop taught by the legendary Rachel Rosenthal, in 1990, Hotchkis transformed herself from actor to performance artist. Her first performance art piece, "Tearsheets: Letters I Didn't Send Home," directed by Steven Kent, was a multimedia solo work that exposed the sexism and brutality beneath the pretty surface of her upper-class childhood. Hotchkis debuted "Tearsheets" at Highways Performance Space, received rave reviews, toured it through the Southwest, and then to the Edinburgh Fringe Festival, where it was the only American production to win a "Fringe First" award in 1992.
For "Tearsheets," according to the Los Angeles Times, Hotchkis "borrowed moments from three generations of her family's history ... and turned an authentic late-19th Century, early-20th-Century dynasty into a late-20th Century one-person feminist performance piece." Hotchkis told the Times that while the show presents her view of her family's history, it's more an exposing of "California cattle-ranching and dynasty values ... I look at how patriarchy works on children and women and how it tries to have people disassociate themselves from their bodies."
In 1996, a 68-year-old Hotchkis lit up the performance art world with "Elements of Flesh, or Screwing Saved My Ass," a shocking, highly personal tour de force about aging and sexuality, directed by Clifford Bell and again produced at Highways Performance Space. Joan performed "Elements" to sold-out audiences and standing ovations at Highways and throughout Southern California. The show got great reviews, and also hate mail - proof that she had dealt a blow to the sick and damaging belief that elders do not, cannot or should not have sex.
Hotchkis was always very interested in social justice, supporting progressive nonprofits and mentoring bright young women from underprivileged backgrounds. She provided critical support to activists, including future head of the National Gay & Lesbian Task Force, Torie Osborne, and defender of Ethiopian women's rights, Bogaletch "Boge" Gebre.
As an actor, writer, producer, performance artist, philanthropist, mentor, and friend, Joan Hotchkis inspired countless people with her passion, courage, generosity and delightful blend of elegance and playfulness. She is survived by daughter Paula and many loved ones who will miss her greatly.
The memorial will be private, but donations can be made in Hotchkis' memory to Highways Performance Space, a great organization that supported her fabulous transformation from mainstream actor to performance art crusader for the rights of women, artists and elders.- Actor
- Soundtrack
American actor, a tall, rugged television leading man of the 1960s and 70s, as well as a voice actor and occasional writer, not to be confused with the British actor of that name (1921-2003) who played M in several James Bond films. There was also Robert Howell Brown -- better known as Robert Lansing -- who arrived on the scene after Robin Adair MacKenzie Brown had already trademarked the 'Robert Brown' moniker in the Screen Actors Guild. Brown, the younger of two siblings born to parents William and Margaret in Trenton, New Jersey, was of English and Scottish ancestry. After wartime service in the U.S. Navy he studied acting under Lee Strasberg at the New School Dramatic Workshop (originally founded in 1940 by German theater director Erwin Piscator), alongside fellow alumni Rod Steiger and Walter Matthau. He made his debut both on Broadway and on the screen in 1948. He first appeared in several early anthology dramas on television and in a couple of B-movies. His first noteworthy role was as Sir Justin in the Roger Corman-directed gothic horror Tower of London (1962). He also had three guest spots on Perry Mason (1957) before being famously cast as a last-ditch replacement for John Drew Barrymore (whose 'no show' on the set resulted in a six-months suspension of his Screen Actors Guild membership) to play the part of alien scientist Lazarus in the Star Trek (1966) episode The Alternative Factor. While probably doing his best with the role -- given the short notice he had to come to grips with the intricate script -- Alternative Factor is generally ranked as one of the lesser entries in the franchise. Brown's luck did not improve the following year. Slated for the career-making role of Steve McGarrett in Hawaii Five-O (1968), he was dropped by producer Leonard Freeman at the eleventh hour in favour of Jack Lord.
Finally given a chance to shine, Brown was cast in the leading role of Jason Bolt, the extrovert boss of a lumberjacking outfit, in Here Come the Brides (1968), an off-beat western series said to have been inspired by the classic MGM musical Seven Brides for Seven Brothers (1954). It ran for two seasons, after which Brown had another starring role as the eponymous oceanographer of Primus (1971), a scuba-diving adventure set around Nassau in the Bahamas. This show was produced by Ivan Tors who had made his reputation in the aquatic arena with Sea Hunt (1958) and Flipper (1964). Primus fared rather less well in the ratings and was axed after just one season. Brown then made just a few more sporadic TV guest appearances before fading from the scene in 1994.- Director
- Producer
- Writer
Jeffrey Hayden was born on 15 October 1926 in New York City, New York, USA. He was a director and producer, known for Knight Rider (1982), Mannix (1967) and Cover Up (1984). He was married to Eva Marie Saint. He died on 24 December 2016 in Los Angeles, California, USA.- Actress
- Producer
- Soundtrack
Actress and producer Eva Marie Saint was born on July 4, 1924 on Newark, New Jersey. She is known for starring in Elia Kazan's On the Waterfront (1954), for which she won an Academy Award for Best Supporting Actress, and Alfred Hitchcock's North by Northwest (1959). Her film career also includes roles in Raintree County (1957), Exodus (1960), The Russians Are Coming the Russians Are Coming (1966), Grand Prix (1966), Nothing in Common (1986), Because of Winn-Dixie (2005), Superman Returns (2006) and Winter's Tale (2014).
Saint made her feature film debut in On the Waterfront (1954), starring Marlon Brando and directed by Elia Kazan - a performance for which she won the Academy Award for Best Supporting Actress. The film was a major success and launched her movie career. She starred in the pioneering drug-addiction drama A Hatful of Rain (1957) with Don Murray and Anthony Franciosa. She also starred in lavish the Civil War epic Raintree County (1957) with Elizabeth Taylor and Montgomery Clift.
Director Alfred Hitchcock surprised many by choosing Saint over dozens of other candidates for the femme fatale role in what was to become a suspense classic North by Northwest (1959) with Cary Grant and James Mason. Written by Ernest Lehman, the film updated and expanded upon the director's early "wrong man" spy adventures of the 1930s, 1940s and 1950s, including The 39 Steps (1935), Young and Innocent (1937), and Saboteur (1942). North by Northwest (1959) became a box-office success and an influence on spy films for decades.Future burial site