Home of Peace
The men and women are interred at Home of Peace Memorial Park in East Los Angeles, California.
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- Actress
- Soundtrack
Fanny Brice was a popular and influential American comedienne, singer, theatre and film actress, who made many stage, radio and film appearances but is best remembered as the creator and star of the top-rated radio comedy series, The Baby Snooks Show. Thirteen years after her death, she was portrayed on the Broadway stage by Barbra Streisand in Funny Girl. The show was made into a musical film in 1968. Born Fania Borach, in New York City, she was the third child of Rose (Stern) and Charles Borach, relatively well-off saloon owners of Hungarian Jewish descent. In 1908, she dropped out of school to work in a burlesque revue, and two years later she began her association with Florenz Ziegfeld, headlining his Ziegfeld Follies from 1910 into the 1930s. In the 1921 Follies, she was featured singing "My Man" which became both a big hit and her signature song. She made a popular recording of it for Victor Records. The second song most associated with her is "Second Hand Rose". She recorded nearly two dozen record sides for Victor and also cut several for Columbia. She is a posthumous recipient of a Grammy Hall of Fame Award for her 1921 recording of "My Man". Her films include My Man (1928), Be Yourself! (1930) and Everybody Sing (1938) with Judy Garland. Brice, Ray Bolger and Harriet Hoctor were the only original Ziegfeld performers to portray themselves in The Great Ziegfeld (1936) and Ziegfeld Follies (1946). For her contribution to the motion picture industry, she has a star on the Hollywood Walk of Fame at MP 6415 Hollywood Boulevard.[original burial site]- Writer
- Producer
Susan Berman was born on 18 May 1945 in Minneapolis, Minnesota, USA. She was a writer and producer, known for The Real Las Vegas (1996) and The Jinx: The Life and Deaths of Robert Durst (2015). She was married to David Margulies. She died on 24 December 2000 in Beverly Hills, California, USA.Plot: Corridor of Eternal Life, crypt 255- Actress
- Soundtrack
Her late 1930s film career was brief and unheralded, and she retired early from the business, but as the mother of Albert Brooks she managed to enjoy a mini-comeback of sorts in a couple of his films, during her twilight years. Former singer/actress Thelma Leeds was born Thelma Goodman in New York City. Trained in opera, her career break happened while singing on radio. RKO took an interest in the lovely, pencil-browed brunette after a talent scout discovered her warbling in a New York nightery. Placed under contract, she moved to Hollywood in 1936 and was befitted with a new stage moniker -- Thelma Leeds. She began things off with an uncredited part in the Fred Astaire/Ginger Rogers musical classic Follow the Fleet (1936). She then moved into minor roles in New Faces of 1937 (1937) and the Edward Arnold/Frances Farmer/Cary Grant drama The Toast of New York (1937).
While working on the "New Faces" film, Thelma met vaudeville/radio comedian and dialectician Harry Einstein (born Harry Einstein). Harry had a supporting role that prominently featured his well-known, English-mangling Greek character Parkyakarkas. The Jewish-American couple married in 1937, and Thelma immediately gave up her nascent career. She produced three sons: Bob Einstein became an actor and comedy writer (he was both the head writer and actor who played Officer Judy on The Smothers Brothers Comedy Hour (1967)); Clifford Einstein, an advertising executive and sometime actor; and, of course, Albert Brooks, who certainly must have grown up with a keen sense of humor to survive the christened name of Albert Einstein. He wisely changed his name, went on the stand-up circuit and evolved into a highly successful actor/director/writer.
Husband Harry died suddenly of a heart attack at age 54 in 1958 while attending a Friar's Roast in honor of Lucille Ball and Desi Arnaz. Two years later, Thelma married Irving "Bernie" Bernstein, who died in 1983. Thelma's "comeback" came with small roles in a couple of Albert's films, Real Life (1979) and Modern Romance (1981), the last in which she played Albert's mother. Son Clifford appeared in both movies as well, and other son Bob appeared in the latter film. In 1996, Albert had a critical hit with his black comedy film Mother (1996), which was loosely based on Thelma and starred Debbie Reynolds in the title role.
A longtime Beverly Hills resident, Thelma passed away at age 95 of natural causes on May 27, 2006, survived by her three sons, five grandchildren and five great-grandchildren.Plot: Chapel Mausoleum, Corridor of Eternal Life. Next to Harry Einstein,her first husband.- Producer
- Additional Crew
- Writer
Louis Burstein was born in 1878 in Russian Empire [now Russia]. He was a producer and writer, known for The Silent Mystery (1918), Crimson Shoals (1919) and The Genius (1917). He was married to Jeanette. He died on 25 March 1923 in Pomona, California, USA.Plot: Section C, Plot 45, Grave 2- Boake Carter was born on 12 April 1899 in Baku, Russian Empire [now Azerbaijan]. He was an actor, known for The Dead March (1937) and Invasion (1941). He died on 16 November 1944 in Hollywood, California, USA.Plot: Mausoleum, Corridor of Harmony, Crypt 219 NE
- Actor
- Soundtrack
Lou Clayton was born on 12 March 1890 in Brooklyn, New York, USA. He was an actor, known for Roadhouse Nights (1930). He died on 12 September 1950 in Santa Monica, California, USA.Plot: Mausoleum, Corridor of Immortality, Crypt 212 NW- Editor
- Producer
- Actor
Arguably there wouldn't have been a Columbia Pictures without him. Jacob (Jack) Cohn was born into an impoverished immigrant family that eventually numbered four children. Hollywood history may credit his younger brother Harry Cohn for a begrudging amount of greatness but he not only followed in Jack's footsteps into the film business, he was a vital part of everything Harry ever built. Jack quit a job at a New York advertising agency in 1908 and jumped on board with the fledgling "Film Service Company", owned by Carl Laemmle. This company morphed into the "Independent Motion Picture" (or IMP) Corporation and began producing its own films (it would, in turn, morph into Universal after moving to Hollywood during the industry's film patent war). The 19-year old quickly rose from a lowly position in the film lab and literally b.s.'d his way up the company's hierarchy. By 1913, he had talked Laemmle into producing newsreels, forming "Universal Weekly". Jack was soon placed in charge of Laemmle's short subject department, which then comprised all of its output. He was placed in charge of cutting Universal's first feature, a $57,000 gamble called Traffic in Souls (1913); its then whopping return of $450,000 was not lost on Jack (or Laemmle for that matter, he committed himself to feature films after this early success and moved west). It was about this time that Jack convinced Uncle Carl to hire an old friend from his days in the advertising business, Joe Brandt, a lawyer who would prove instrumental in the brothers' affairs over the next dozen or so years. With Universal's formation in Hollywood, Jack remained in New York and recommended his brother Harry for a job within the studio. Since Laemmle was an ardent believer in paternalism (practically all his relatives were employed there), it was no great push to get him to hire Harry, who became Laemmle's personal secretary. By 1920, Jack had grown anxious to branch out on his own in the movie business and enlisted Harry and Brandt to form their own production company as CBC (Cohn-Brandt-Cohn) Film Sales. Their initial endeavor, a series of three shorts shot in New York based on H.A. McGill's "Hall Room Boys" cartoons proved a dismal failure and nearly doomed the embryonic firm. Harry needed a 3,000 mile buffer zone between his brother and Brandt and headed West to base CBC's product where most of the talent was. For the next few months, he managed to bring CBC's shorts in cheaply, using excess film stock purchased from other studios. He rented or borrowed everything possible and, incredibly, managed to send marketable product East. Harry rented an old studio at the corner of Sunset and Gower that stood as the portal to Poverty Row, a notorious area that had a reputation of being a place where careers went to die. Like Laemmle, Harry rather belatedly realized that the big money was in feature film production and convinced Jack and Joe to pony up $20,000 for a 6-reel production of More to Be Pitied Than Scorned (1922). The modest production realized a profit of $130,000 which was remarkable considering CBC lacked a theatrical network and had to split profits with innumerable (and often greedy) film exchanges for distribution. The success of this first feature resulted in a deal for 5 additional features - CBC enthusiastically jumped in with both feet, producing 10 features by the end of 1923... each one proving profitable. Despite this success, CBC was met with derision in Hollywood, and dubbed "Corned Beef and Cabbage" Productions, which enraged Harry. Seeking to reposition the firm as a major player in town, Harry successfully lobbied for a name change to "Columbia Pictures Corporation" and, with the change, went public and, by 1925, physical ownership of the Gower studio. Throughout, the brothers fought like wet cats in a burlap bag. Harry, although possessing remarkable instincts for talent, was universally disliked by everyone who ever worked for him. He was cheap, crude, profane, uneducated and enthusiastically belittled anyone at the slightest provocation. Jack remained in the East and acted as the company's banker, remaining mostly disconnected with the creative process. Joe Brandt acted as an intermediary between the two bothers, who continued to fight incessantly (he would be bought out by the end of the decade and leave the company). Columbia Pictures rose out of the ash pile of Poverty Row by making a handful of wise business decisions hashed out by the partners in the 1920s: the company rejected theater ownership (which proved even more intelligent after the Supreme Court ruled against other studio's chain ownership in the 1940s), eschewed longterm talent contracts (with the notable exception of wunderkind director Frank Capra and The Three Stooges, which proved too good a deal to pass up) and virtually fed off its early Poverty Row reputation. Columbia's ability to attract talent was a direct result of being able to contract with loaned-out actors whose studios wanted to punish for perceived unreasonable pay and script disputes. These stars would invariably be placed into Capra's first-class productions; notably, It Happened One Night (1934) which single-handedly propelled the company into the ranks of the majors - and earned its first Oscars. Aside from Capra's films and a precious few other top notch directors like Leo McCarey, the vast majority of Columbia's pre-war output was decidedly B-level, featuring mostly supporting level quality stars; it didn't enjoy its first blockbuster hit until The Jolson Story (1946), an $8 million earner. But Columbia Pictures incredibly never had a year in the red during his brother's reign... a record unequaled by any other Hollywood studio, even MGM, which suffered greatly after WW2. Unlike the other majors, Columbia embraced television. Jack's son, Ralph Cohn, with the blessing of the corporation, formed the Screen Gems subsidiary in the early 1950s - another fortuitous move that paid big dividends in the 1960s. The brothers love-hate relationship continued until Jack's death in 1956 at age 67. Harry died of a heart attack in 1958 at age 66.Plot: Mausoleum, Corridor of Solace, Crypt 201 NE- Actor
- Writer
- Soundtrack
Harry Einstein was born on 6 May 1904 in Boston, Massachusetts, USA. He was an actor and writer, known for Night Spot (1938), Badminton (1945) and The Yanks Are Coming (1942). He was married to Thelma Leeds, Lillian Anshen and Jennifer Ann Boyd. He died on 24 November 1958 in Los Angeles, California, USA.- Music Department
- Composer
- Actor
Leo Forbstein began as a violin player at the age of 4. While conducting at the Royal Theater in St. Joseph, Mo., he pioneered and introduced the synchronization of the orchestra with the silent action on the movie screen.
He moved to Hollywood in the mid 1920s where he directed a symphony orchestra at Grauman's Egyptian Theater. He signed as head of the Warner Brothers music department and director of the Vitaphone Orchestra in 1926. Forbstein was nominated for 3 (three) Academy Awards for Best Score: 1936's Anthony Adverse (1936) and The Charge of the Light Brigade (1936), and 1937's The Life of Emile Zola (1937). He took home the Oscar for his work in Anthony Adverse (1936) (which was the first Oscar ever awarded in this category). He was working on the score for the 1948 Academy Awards show when he suffered a heart attack. A radio tribute in his honor aired April 25, 1958, on radio station KFWB. Paying tribute were: Eddie Cantor, Danny Kaye, Doris Day, Al Jolson, Dinah Shore, Johnny Mercer, Frances Langford, Gordon McRae, Rudy Vallee, Max Steiner and an orchestra of 96 pieces. A personal tribute was also delivered by Jack L. Warner.Plot: Mausoleum, Corridor of Immortality, Crypt 205 SW- Actor
Al Freeman was born on 25 November 1883 in Massachusetts, USA. He was an actor. He died on 22 March 1956 in Los Angeles, California, USA.Plot: Mausoleum, Corridor of Immortality, Crypt 112B NW- Music Department
- Actor
- Writer
Mack Gordon was born on 21 June 1904 in Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]. He was an actor and writer, known for The Shape of Water (2017), Collegiate (1935) and Sweet and Low-Down (1944). He was married to Elizabeth Cook and Rose Ponelli. He died on 28 February 1959 in New York City, New York, USA.Plot: Corridor of Immortality, Crypt 50- Actor
- Writer
- Additional Crew
Jerome "Curly" Howard, the rotund, bald Stooge with the high voice was the most popular member of The Three Stooges. His first stage experience was as a comedic conductor for the Orville Knapp Band in 1928. Curly joined The Three Stooges in 1932, replacing his brother Shemp Howard. He made more than 100 film appearances with the team before a massive stroke on the set of Half-Wits Holiday (1947) forced him to retire. He recuperated enough to appear in Hold That Lion! (1947) and hoped to eventually return to the team. But another series of strokes deteriorated his health until he died at the age of 48.Plot: Western Jewish Institute Section, Row 5, Grave 1
GPS coordinates: 34.0208206, -118.1768570 (hddd.dddd)- Actor
- Soundtrack
Shemp Howard was born Samuel Horwitz in Brooklyn, New York, USA. He was also the brother of fellow stooges Moe Howard and Curly Howard. Larry Fine was not related to any of the other stooges.
When not working with The Three Stooges, Shemp made a lot of feature film appearances, such as The Bank Dick (1940) with W.C. Fields. Shemp, Moe, Larry and Curly appeared in only one short together -- Hold That Lion! (1947). In it, Curly appears as an uncredited train car passenger. Watch for the man with the hat on his face. This was a short, non-speaking cameo, due to a stroke Curly suffered the prior year.Plot: In Mausoleum-Second Tier from the bottom- Producer
- Writer
- Additional Crew
Carl Laemmle Jr. was an American film producer and studio executive from Chicago, Illinois. He was the son and the intended heir of the film producer Carl Laemmle (1867-1939), co-founder and studio head of Universal Pictures (1912-). Carl Junior served as Universal's head of production from 1928 to 1936. He either personally produced or greenlit the production of several hit films of the early sound era.
Carl Junior is primarily remembered for producing the war film "All Quiet on the Western Front" (1930), and the horror films "Dracula" (1931), "Frankenstein" (1931), "The Mummy" (1932), "The Old Dark House" (1932), "The Invisible Man" (1933), and "Bride of Frankenstein" (1935). In an effort to modernize the studio, Carl Junior invested in "state of the art" technology for sound films, and high-quality production values. He also produced some of the studio's early color films, most of them being musicals. In several cases, the money invested in a film's production exceeded the revenue from its release and distribution. By the mid-1930s, the studio was cash-strapped.
The final film Carl Junior produced was the ill-fated romantic musical "Show Boat" (1936), based on the 1927 musical of the same name by Jerome Kern and Oscar Hammerstein II. The film was intended to be a prestigious "big-budget" production for Universal, but the company did not have sufficient funds at the time. At the insistence of company shareholders, the Laemmles (father and son) took a production loan from the Standard Capital Corporation. They pledged the Laemmle family's controlling interest in Universal as collateral. When the production of the film went over budget, Standard called in the loan before the film's completion and release. The Laemmle family was unable to pay, and Standard ceased control of Universal in April 1936.
Carl Junior fully retired from the film industry in 1936, at the age of 28. The new studio head at Universal was the financier John Cheever Cowdin (1889-1960), who soon instituted severe cuts in production budgets. Part of the new regime at Universal were the British film distributors Charles Moss Woolf (1879-1942) and Joseph Arthur Rank (1888-1972), who bought a significant stake in the studio.
Carl Junior spend the rest of his life in relative obscurity. In September 1979, he died from a stroke. He was 71-years-old at the time of his death. He was buried in the Chapel Mausoleum at Home of Peace Cemetery, a Jewish cemetery in Los Angeles. His father had been buried in the same cemetery. Carl Junior is fondly recalled by horror fans for producing some of the earliest hits in the genre, but his historical reputation is otherwise overshadowed by more influential studio executives of the sound era.Plot: Chapel Mausoleum- Producer
- Additional Crew
- Actor
The roots of Universal Pictures can rightfully be traced back to 1906 when Carl Laemmle returned home to Chicago after a stint as a bookkeeper in Oshkosh, Wisconsin, and opened up a chain of nickelodeons. This in turn led to the ambitious 39-year-old organizing a film exchange network he boldly called the Laemmle Film Service, which expanded west and north into Canada. Although he was an original member of the Edison Patents Company, he bristled at the idea of paying royalties to move to the next level: film production. Laemmle founded IMP (Independent Motion Picture Company) in New York in 1909 and for the next three years produced a number of economical multi-reel films while Edison's agents did their best to shut him down. Thomas Edison's General Film Company (known as "The Trust") filed incessant claims of patent infringement on those companies that refused to pay. Many of these independents (which included such future film moguls as Adolph Zukor and Jesse L. Lasky) pulled up stakes and left for California. As for Laemmle, he doggedly fought 289 legal actions brought about by GFC from 1909-12 and was ultimately victorious. IMP reformed in 1912 as Universal, filming two final productions in New York, The Dawn of Netta (1912) and a one-reeler, The Nurse (1912), before relocating his company to Los Angeles. From 1912-14 Universal operated two California studios, one in Hollywood and the Universal "Oak Crest Ranch" in the San Fernando Valley. The two operations were move to the new Universal City ("Taylor Ranch") in 1914 For a short time in 1912, the New York Film Company battled with Universal over the ownership of the Bison Motion Picture properties at Evendale and Santa Monica. New York Film Company wins the right to withdraw from Universal. Universal/Bison Evendale plant was returned to the New York Film Company. Universal was given the rights to trade names "Bison" and 101 Bison" Universal/Bison brand began production at the Providencia Ranch ( Universal Oak Crest ranch- the first Universal City) in 1912.
Universal began newsreel production in 1913 under Jack Cohn. In 1914 Laemmle acquired the Taylor Ranch on the north side of the Hollywood Hills and set about building Universal City. Damon and Pythias (1914) was Universal's first film completed there, just prior to the studio's official opening in March 1915 and, until 1925, Universal City would be the largest and most prolific studio in the world (eventually supplanted by MGM soon after its inception). Organized studio tours began in 1915 (they were discontinued in 1928 with the arrival of talkies, but resumed in 1964), which proved highly profitable. Laemmle, lacking a theater network, instituted a three-tiered branding system to market Universal's releases: Red Feather (low-budget), Bluebird (mainstream/medium budget) and Jewell (prestige releases, often roadshow attractions commanding premium prices). Heavy emphasis was placed on one-, two- and three-reel productions.
Universal became known as the most paternalistic of all the Hollywood studios. Virtually all of "Uncle" Carl's relatives (including his son Carl Laemmle Jr. and his vastly more talented nephew, William Wyler, were employed there). The studio enjoyed enormous hits during the 1920s, especially Lon Chaney's The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925) before the actor was lured away to MGM. Lacking a theater network, Universal concentrated on independent rural theatrical houses, offering affordable exhibitor's packages which allowed them to change bills numerous times per week. This marketing strategy largely concentrated on product that would appeal to rural theaters through 1930. During the 1920s Europe also became a major source of revenue, with Universal actively involved in co-productions overseas. Sound productions became the norm by 1929 and Universal responded by increasing the number of quality productions, scoring its first Academy Award for Best Picture with All Quiet on the Western Front (1930) the following year. The studio became famous for popularizing the monster craze, beginning with Dracula (1931), that remained strong into 1935. Unfortunately, the studio's other product was proving less successful as the ravages of the Depression took hold. Laemmle's emphasis on quality productions misfired in the mid-'30s and he was forced to take an unfavorable $750,000 loan from Standard Capital which, after cost overruns on the production of Show Boat (1936), resulted in his ouster from the studio. He was forcibly retired from the movie industry in 1936 and sold Universal to Standard Capital Company, headed by Charles R. Rogers, who instituted drastic cost-cutting measures that coincided with the signing of Deanna Durbin, whose popularity virtually single-handedly saved the studio from financial disaster from 1937-40, until other popular stars (notably the comedy team of Bud Abbott and Lou Costello) were added to the studio's roster by a later management team headed by J. Cheever Cowdin. Universal was also--briefly--home to displaced low-budget veteran producers Trem Carr and W. Ray Johnston, who worked there in 1936 while reforming Monogram Pictures after breaking off from an unhappy association with Republic Pictures.
While many contemporary observers disliked Rogers' handling of the so-called "New" Universal, the undeniable fact is that he saved the studio at a critical point in its history. Carl Laemmle died in 1939 of a heart attack in Los Angeles at age 72. As with most Hollywood studios, production boomed during WW2, and by 1945 the studio was averaging a release of one feature film per week. Universal merged with International Pictures, an independent studio headed by ex-20th Century-Fox executives William Goetz and Leo Spitz in 1946 and renamed Universal-International Pictures (reverted to Universal in 1963). Since the company had consciously avoided building a proprietary theater chain it was unaffected by the 1949 Supreme Court theater anti-trust decision. Indeed, the studio was actually better positioned than the other majors as it's revenue stream continued unabated. Universal was purchased by and merged with Decca Records in 1952.
While not a pioneer in television production (most majors, with the notable exception of Columbia, initially stonewalled it), the medium became a huge part of Universal City in the late 1950s. In 1962 Universal was purchased by and merged with The Music Corporation of America (MCA) and became MCA Universal. MCA's television production company, Revue Televsion Productions with its Leave It to Beaver (1957) unit, would relocate to the sprawling Universal lot. Matsushita Electrical Industrial Co. purchased MCA in 1991. The Seagram Co. purchased MCA in 1995 and MCA Universal was renamed Universal Studios. In 1998 Universal purchased the USA television network. The company merged with a French global media company, Vivendi Media Group, and became Vivendi Universal in 2000. In April 2004 Vivendi Universal was purchased by and merged with the National Broadcasting Company (NBC) and became NBC Universal.Plot: Chapel Mausoleum- Camera and Electrical Department
- Additional Crew
Ruth Harriet Louise was a professional photographer in the 1920s. It was unusual enough for a woman to be in that profession at that time, but what was even more unusual was that she was the official photographer at MGM Studios from 1925 to 1930, a time when MGM's prestige was at its peak and its stars were the biggest in Hollywood--John Gilbert, Greta Garbo, Marion Davies, Lon Chaney, among others--and she photographed them all, and often: it's estimated that she took more than 100,000 photos during her tenure at MGM. Today she is considered an equal with George Hurrell Sr. and other renowned glamor photographers of the era.Plot: Half Block, Plot 12, Row 6, Grave 1- Additional Crew
- Producer
- Production Manager
J. G. Mayer was born on 16 April, 1891 in Brooklyn, New York. Early in his life he was a deep sea diver and in 1919 formed his own salvage company. He went on to manage a city railroad company, a brass foundry and a steel company. When in the early 1920s his brother, Louis B. Mayer, opened his first theater in Haverhill, Massachusetts, J. G. decided to join him in managing the enterprise. In Hollywood he managed the first Mayer movie studio and would later hold a number of important positions at Metro Golden Mayer, eventually becoming studio manager in the mid 1930s. J. G. Mayer died on 29 September, 1947 at Cedars of Lebanon Hospital in Los Angeles after a four month illness. He was survived by his wife, Rheba Mayer (née Gilinsky), and a son, Gerald Mayer.Plot: Mausoleum, Corridor of Truth, Crypt 420 NW- Additional Crew
- Producer
- Actor
Mayer was born Lazar Meir in the Ukraine and grew up in Saint John, New Brunswick, Canada after his parents fled Russian oppression in 1886. He had a brutal childhood, raised in poverty and suffering physical and emotional abuse from his nearly-illiterate peddler father. In the early 1890s, he changed his name to Louis and fudged his birth date to reflect the more "patriotic" date of July 4, 1885. He moved to Boston in 1904 and struggled as a scrap-metal dealer until he was able to purchase a burlesque house. Although he made large sums by showing films (he made a sizable fortune off The Birth of a Nation (1915)), his early business ventures favored legitimate theater in New England. As his theater empire expanded, he had acquired and refurbished enough small movie theaters that he was able to move his business to Los Angeles and venture into movie production in 1918. Along with Samuel Goldwyn and Marcus Loew of Metro Pictures, he formed a new company called Metro-Goldwyn-Mayer (MGM).
Over the next 25 years, MGM was "the Tiffany of the studios," producing more films and movie stars than any other studio in the world. Mayer became the prime creator of the enduring Hollywood of myth, home to stars like Clark Gable, Judy Garland, Joan Crawford, and Jean Harlow. Mayer became the highest-paid man in America, one of the country's most successful horse breeders, a political force and Hollywood's leading spokesman. Both he and MGM reached their peaks at the end of World War II, and Mayer was forced out in 1951. He died of leukemia in 1957.Plot: Mausoleum, Corridor of Immortality, #405- Actress
- Soundtrack
Though she is little remembered today, silent screen star Carmel Myers had a high-flying career in her heyday and was ranked among the screen's most glamorous and enticing vamps. She was born at the turn of the century in San Francisco, the daughter of immigrant parents. Her father, a rabbi, emigrated from Australia and her mother from Austria. Her older brother, Zion Myers, would grow up to become a successful writer and director in Hollywood. The family moved to Los Angeles when she was in her early teens and her father, an acquaintance of director D.W. Griffith, advised Griffith on the biblical scenes for his movie Intolerance (1916), for which Carmel received a bit role as a dancer.
Signed by Universal, Carmel rose quickly up the ranks appearing with Rudolph Valentino in A Society Sensation (1918) and All Night (1918). She later branched out and worked for other studios. She appeared in her most prestigious film over at MGM. In the epic extravaganza Ben-Hur: A Tale of the Christ (1925), she portrayed Iras, the evil Egyptian seductress out to snare both Ramon Navarro and Francis X. Bushman. Outrageously adorned, she was a tremendous hit and MGM signed her up for their pictures The Devil's Circus (1926) and Tell It to the Marines (1926), with each showcase striving to outdo the costumes she wore for "Ben-Hur."
Carmel managed the transition into talkies but, due to her age, started appearing more and more in support roles until she was left with nothing but bits. In the 1950s she tried television and made her debut in July 1951 with an interview show called, fittingly, The Carmel Myers Show (1951), in which she bantered with such show biz elite as Richard Rodgers and Sigmund Romberg, but the show lasted only one season. Married three times, she turned to real estate and also founded Carmel Myers, Inc. in which she distributed French fragrances. She died on November 9, 1980.Plot: 1/2 block, plot 3, row 3, grave 3- Director
- Writer
- Producer
Kurt Neumann was born on 5 April 1908 in Nuremberg, Bavaria, Germany. He was a director and writer, known for Rocketship X-M (1950), The Fly (1958) and She Devil (1957). He was married to Irma Ely Neumann. He died on 21 August 1958 in Hollywood, California, USA.Plot: Chapel Mausoleum, Corridor of Eternal Light- Actor
- Producer
- Additional Crew
- Production Manager
Harry Rapf was born on 16 October 1880 in New York City, New York, USA. He was a producer and production manager, known for Brown of Harvard (1926), The Night Is Young (1935) and Let Freedom Ring (1939). He was married to Clementine Uhlfelder. He died on 6 February 1949 in Los Angeles, California, USA.Plot: Chapel Mausoleum, Corridor of Immortality, C-104 SW- Marvin Ross is known for The Treasure (1990).Plot: Home of Peace Mausoleum, Corridor of Eternal Life
- Director
- Writer
- Producer
Mark Sandrich was born on 26 October 1900 in New York City, New York, USA. He was a director and writer, known for Shall We Dance (1937), Holiday Inn (1942) and Melody Cruise (1933). He was married to Freda Wirtschafter. He died on 4 March 1945 in Hollywood, California, USA.Plot: Section A, Plot 80, Grave 1- Producer
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- Director
Morris R. Schlank, the eponymous boss of Morris R. Schlank Productions, is vaguely remembered as a Poverty Row producer who continued to turn out silent films into the 1930s for his main market of third-run rural movie theaters. In the pantheon of movie producers, Schlank was to Irving Thalberg what Pauly Shore is to Charles Chaplin among comedians.
Schlank was born on 1879 in Omaha, Nebraska. By 1914 he had established himself in Hollywood with a costume rental business. In 1919 he produced his first motion picture, the comedy short The Janitor (1919) starring Hank Mann, who had played one of the Keystone Kops. Schlank produced a plethora of comedy shorts with Mann, at least one of which was directed by Charley Chase, a talented second-tier silent comedian himself who at the end of his career directed shorts starring The Three Stooges (if the entertaining Chase was second-rate, Mann's rating as a cinema stooge likely was junk status). The other King of Comedy at Schlank's studio was Bobby Ray, another "star" whose light has been snuffed out by the sifting sands of time, albeit a star that never burned very brightly in the first place.
Schlank's first feature film was Storm Girl (1922), which was directed by Francis Ford (John Ford's brother), who also starred in the picture. Once a major filmmaker and star, Ford was on the downside of his career, a situation that typified Morris R. Schlank Productions employees, such as director/writer/producer/actor Ben F. Wilson, who ended his prolific career at Schlank's studio. Other than his featuring of "Never-Will-Be's", the hallmark of Schlank productions was the use of "Has-Been's"--actors and filmmakers in the twilight of their careers.
Dangerous Trails (1923) likely was the highlight of the output of Schlank's studio; the western starred character actor Noah Beery and Irene Rich, a frequent co-star of Will Rogers in the early 1920s. The studio cranked out low-budget westerns starring Al Hoxie, the brother of the more famous (and equally forgotten) cowboy star Jack Hoxie.
A Morris R. Schlank production was made very quickly on an extremely low budget. A Schlank picture was silent up through 1930. After taking a year off, Schlank returned to the screen in 1932 with Shop Angel (1932), his first sound movie. There would be two more Schlank sound productions released in 1932: Drifting Souls (1932) and Exposure (1932).
Morris R. Schlank died of a heart attack on June 29, 1932, while vacationing at Murietta Hot Springs, CA. He was 52 years old.Plot: Addition 1, Row 4, Grave 33- Producer
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Jack H. Skirball was born on 23 June 1896 in Homestead, Pennsylvania, USA. He was a producer, known for Saboteur (1942), Shadow of a Doubt (1943) and This Woman Is Mine (1941). He died on 8 December 1985 in Los Angeles, California, USA.Plot: Addition 3M, row 2, grave #63- Abe Stern was born on 8 March 1888 in Hintersteinau, Germany. He was a producer, known for The Purple Mask (1916), Tee Time (1921) and The Little Rascal (1922). He was married to Hortense J. Westheimer and Jesse J. ???. He died on 12 July 1951 in Los Angeles County, California, USA.Plot: Mausoleum, Corridor of Solace, Crypt 107A SW
- Bernard Stone is known for House of Mystery (1931).Plot: Addition 2, Row C, Grave 32
- Joe Traub was born on 12 October 1901 in New York City, New York, USA. Joe was a writer, known for King of the Islands (1936), Merry Wives of Reno (1934) and Into the Night (1928). Joe died on 8 November 1936 in Los Angeles, California, USA.Plot: Addition 7, Row 7, Grave 8
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Hungarian-born Karoly Vidor spent the First World War as a lieutenant in the Austro-Hungarian infantry. Following the armistice, he made his way to Berlin and worked for the German film company Ufa, as editor and assistant director. In 1924, he emigrated to the U.S. and, for several years, earned his living as a singer in Broadway choruses and (at one time) with a Wagnerian troupe. While little detail is extant of this period in his career, it enabled him to accumulate the means with which to finance his own project: an experimental short film entitled The Bridge (1929). On the strength of this, he was signed by MGM to co-direct his first feature film The Mask of Fu Manchu (1932). For the remainder of the decade, Vidor worked with relatively undistinguished material at various studios, notably RKO (1935) and Paramount (1936-37). In 1939, he joined Columbia, where he remained under contract until 1948.
Vidor's career is something of an enigma. Never a particularly prolific filmmaker, his output has been variable. It includes a good-looking, but decidedly stodgy romance, The Swan (1956) (starring Grace Kelly in her penultimate screen role); and the interminably dull remake of A Farewell to Arms (1957). On the other side of the ledger is the lavish showbiz biopic of singer Ruth Etting, Love Me or Leave Me (1955), for which Vidor elicited powerhouse performances from his stars Doris Day and James Cagney. Frank Sinatra, also, gave one of his best performances as nightclub entertainer Joe E. Lewis, descending into alcoholism in The Joker Is Wild (1957). Other Vidor standouts are Ladies in Retirement (1941), a gothic Victorian thriller, tautly directed and maintaining its suspense, despite a relatively claustrophobic setting (among the cast, as Lucy the maid, was actress Evelyn Keyes, who became Vidor's third wife in 1944). Finally, two Rita Hayworth vehicles, the breezy musical Cover Girl (1944), and Vidor's principal masterpiece, the archetypal film noir Gilda (1946). This cleverly plotted, morally ambiguous tale of intrigue and ménage-a-trois was one of Columbia's biggest money-earners to date.
Some of the wittier dialogue in "Gilda" was voiced in re-takes, long after primary filming had been completed. The same applies to the two main musical numbers, the show-stopping "Put the Blame on Mame", and "Amado Mio". Yet, under Vidor's direction, all the dramatic and musical elements blended perfectly. The film has an undeniably electric atmosphere, largely due to the chemistry between the three leads. When the same material was later re-worked as Affair in Trinidad (1952) (with a bigger budget), that chemistry was notably absent.
In 1948, Vidor fell out with studio boss Harry Cohn, taking him to court for alleged verbal abuse and exploitation. He wanted out of his contract. Having just married Doris Warner, daughter of Warner Brothers president Harry M. Warner, Vidor sensed opportunities in working at a more prestigious studio. Cohn wasn't going to let him go quietly. It was pretty much all over, when actor Steven Geray testified, that he had himself been on the receiving end of invective at the hands of Vidor on the set of "Gilda". Glenn Ford, who thought Vidor opportunistic, then went on the stand, relating, that Cohn routinely used foul language on everyone around him, rather than aiming at any individual in particular. The fact that Vidor was not the easiest man to get along with, became evident during filming of the Liszt biopic Song Without End (1960). Both his stars (Dirk Bogarde and Capucine) found him to be ill-tempered and erratic. However, since Vidor died before the film was completed (George Cukor taking over), other factors may have played a part. In the final analysis, for "Gilda" alone, Charles Vidor deserves a niche in Hollywood heaven.Plot: Interred in same mausoleum as Harry Warner
GPS coordinates: 34.0220909, -118.1753464 (hddd.dddd)- Harry M. Warner was born on 12 December 1881 in Krasnoshiltz, Russian Empire. He was a producer, known for The Lost City (1920), My Four Years in Germany (1918) and Cleaning Up (1920). He was married to Rea Ellen Levinson. He died on 25 July 1958 in Hollywood, California, USA.
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With his brothers Harry M. Warner, Albert Warner, and Sam Warner, he founded Warner Bros. Pictures Inc. in 1923. They released the first motion picture with synchronized sound, The Jazz Singer (1927) with Al Jolson. In the 1930s they gave employment to a parade of stars, including Bette Davis, Errol Flynn and Paul Muni, as well as James Cagney, Edward G. Robinson, and a man whose star would eventually rise in the 1940s, Humphrey Bogart. Decades later, the firm's successor, Warner Communications Inc., merged with Time Inc. to become Time Warner Inc., the world's largest media and entertainment company.Plot: Jack Warner Garden- Producer
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Sam Warner could rightly be called "The Father of Talking Pictures". Of the four Warner brothers, Sam was the most in favor of using synchronized sound with movies. He was the driving force behind the studio's partnership with Western Electric to create Vitaphone. At first, he only wanted to use Vitaphone to provide music and sound effects. (This was intended as a cost-saving device, allowing local theaters to dismiss their house musicians.) When Don Juan (1926) -- the first Vitaphone feature -- debuted, it was not nearly as well received as two of the Vitaphone shorts that immediately preceded it. One was of MPPDA president Will Hays giving a short introductory speech, the other was of an opera tenor singing a selection from "Il Pagliacci." Realizing that people wanted to hear movie actors' voices, Sam pushed his brothers to the next level: talkies. The result was The Jazz Singer (1927). Originally, Al Jolson was only supposed to sing. There was to be no dialogue. Jolson insisted on ad-libbing between songs. Sam convinced his brothers to include the ad-libbed scenes and, in fact, it is those few talking scenes that made the movie the sensation it was. Ironically, Sam never saw the revolution he started. He died the day before The Jazz Singer (1927) had its world debut in New York City.Plot: Section D, Warner Family Mausoleum, Crypt #8- Cinematographer
Born Abraham Fried in 1900, he was a cinematographer in early Hollywood specializing in outdoor and early western cinema. He died tragically along with 9 others while filming Such Men Are Dangerous (1930) off the coast near Santa Monica, the plane he was filming on collided with another plane. Both planes burst into flames before crashing into the ocean. Among the dead were the director, Kenneth Hawks and three other cameramen George Eastman, Otho Jordan, Ben Frankel and Max Gold, the Assistant Director, two property men and the two pilots.Plot: Addition 1, Row 2, Grave 18- Actor
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Ivan Kahn was born on 8 December 1890 in Los Angeles, California, USA. He was an actor and writer, known for Star Dust (1940) and The Sands of Life (1914). He was married to Frances Guihan and Jessie Kahn. He died on 4 April 1951 in Los Angeles, California, USA.Plot: Behrendt Family Mausoleum- Actress
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Carla Laemmle was born on 20 October 1909 in Chicago, Illinois, USA. She was an actress, known for The Adventures of Frank Merriwell (1936), King of Jazz (1930) and The Gate Crasher (1928). She died on 12 June 2014 in Los Angeles, California, USA.- Writer
- Producer
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Producer, director, writer, author, actor and songwriter, educated in public schools. He was an actor, playwright and stage manager with the Dallas Little Theatre, and played Andy Hardy in the Broadway play "Skidding". Coming to Hollywood in 1933, he wrote screenplays and songs for several films (see credits) and eventually became an executive producer for Paramount. Joining ASCAP in 1935, his popular-song compositions include "I Found a Dream", "Love at Last", "Readin', Ritin', Rhythm", "If I Knew You Better", "Okolehao", and "Ting-a-ling-a-ling".