Actors who lived over 100
These are actors and and other entertainment people who lived over 100. There was some dispute as to Robert Earl Jones (the father of James Earl Jones) age at death some placing him over 100 but now it is generally accepted he was 96. These are updated as of. October 2019
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- Actress
Tatzumbia Dupea was born on 26 July 1849 in Lone Pine, California, USA. She was an actress. She died on 26 February 1970 in Los Angeles, California, USA.According to imdb 120 and 7 months (big asterisk) but this seems suspicious as I can't find much information on her and surely being among the oldest people ever she would get a mention in such list.- Frederica Sagor Maas was born in America, the youngest daughter of Russian immigrants. Feeling no great desire to complete her course in journalism at Columbia University, New York, she found film an exciting new artistic medium, and was hired by Universal Studios as a story editor, and later MGM as a fully fledged screenwriter. Thus began a bumpy life in the film industry. Maas went from rubbing shoulders with stars such as Clara Bow, Norma Shearer, and Joan Crawford and being at the top of her game with hits like The Plastic Age (1925) to watching several ideas and stories being robbed outright by unscrupulous insiders, to watching dear friends lose their careers in the McCarthy era, and eventually leaving the motion picture industry in the 1950s after a series of crushing disappointments. She married fellow writer and producer Ernest Maas in 1927, and honoured his commitments to the industry long after she realised it would take from them far more than they would take from it. She recounted these adventures in her clear-eyed, frank autobiography, published in 1999 - when she was 99! They say that history is written by the winners, but her story proves that the tales of the also rans can be just as fascinating.111 and 6 months
- Actor
- Soundtrack
Growing up as the youngest of four sons of the merchant Jacobus Heesters and his wife Gertruida, née van der Hoevel, he began a commercial apprenticeship after finishing school. He actually wanted to become a priest, but then began an apprenticeship in a bank. In 1920 he switched to acting. He initially completed singing and acting training in Amsterdam and had his first theater engagements there in 1921. He later also played on stages in The Hague, Brussels and Rotterdam. In 1924 he received a supporting role in his first silent film "Cirque Hollandais" directed by Theo Frenkel. In 1930 Heesters married Louisa H. Ghijs, with whom he had two daughters, Wiesje and Nicole. He was married to his wife for 53 years until her death in 1985. After appearances at theaters in the Netherlands, Belgium and Switzerland, he received his first engagement as a tenor in operetta in 1934 in Millöcker's "The Begging Student" at the Vienna Volksoper. A year later, in 1936, he went to Berlin.
Here Heesters celebrated his breakthrough, first at the Komische Oper and then at the Metropoltheater and the Admiralspalast. He also owed his nickname "Jopie" to the audience in the German capital. He was immediately discovered for the film. Numerous UFA productions followed, such as his first leading role in "The Bettelstudent" (1936) and "The Court Concert" (1936). With "Gasparone" (1937) alongside Marika Rökk, Heesters became a film star. In 1938 he sang the role of Count Danilo for the first time in the Franz Léhar operetta "The Merry Widow", a role that he developed into one of his signature roles for 35 years. This was followed by "The Adventure Continues - Every Woman Has a Sweet Secret", "My Aunt - Your Aunt" (1939) and "Love School" (1940). The Reich Ministry for Public Enlightenment and Propaganda soon included him on the so-called "God-Given List". His attitude towards Nazi Germany was contradictory. Although he owed his success primarily to the UFA, he also rejected German citizenship. He neither became a member of the NSDAP nor did he explicitly distance himself from National Socialism.
Despite a few encounters with Adolf Hitler, he performed in the Netherlands in 1938 with a Jewish theater group that had fled Germany. There was massive criticism from abroad, especially in Holland, where he was accused of being a collaborator who was in German service when his homeland was occupied by the Wehrmacht. He celebrated great successes during the war years with films such as "Hello Janine" with Marika Rökk, "It began so harmlessly" with Theo Lingen and "Roses in Tirol" with Hans Moser. Despite his success in film, Heesters returned to theater after the Second World War. His popularity remained unbroken. Count Danilo's entrance song "I'm going to Maxim" from the operetta "The Merry Widow" became an evergreen. He appeared on stage in this role over 1,600 times. In 1953, Otto Preminger hired him for the Hollywood film "The Virgin on the Roof". Meanwhile, Heesters had already been involved in around 50 film productions by 1961. In 1970, after a long break from filming, he appeared in "The Inspector: Parking Lot Hyenas". "The Beautiful Wilhelmine" followed in 1983.
In 1984 Johannes Heesters became an honorary member of the Vienna Volksoper. In 1985 the comedy film "Otto - The Film" followed. Heesters was also active in literature. He described his life in his 1993 autobiography entitled "Thank God I'm Not Young Anymore." In the 1990s he appeared in front of the camera for the television plays "Two Munichers in Hamburg", "Two Old Hands" and "Between Night and Day". In 1992 Heesters married the actress Simone Rethel, who was 46 years his junior. From 1996 to the summer of 2001 he played alongside his wife in the play "A Blessed Age" written for him by Curth Flatow. In 1999 he was awarded a "Bambi" for his life's work. In 1997, at the age of 94, Heesters celebrated his 75th stage anniversary and went on tour with the play "A Blessed Age". At the turn of the millennium, Heesters, who was fond of tobacco and whiskey until old age, became the oldest active entertainer in the world. In 2001 he was honored with the Platinum Romy for his life's work.
In 2002, the 99-year-old Heesters was able to look back on 80 years on the stage. Another autobiographical work by Heesters followed in 2002 with the title "Even a hundred years are not enough". In 2003, Johannes Heesters received an honorary award from the "Bambi" for his life's work. In 2004, Heesters appeared four times in the role of the gentleman in Hofmannsthal's "Everyman". At the Wittenberge Elbland Festival he was awarded the title of "chamber singer". In August 2006, the first exhibition about Heesters took place in the Berlin Academy of Arts, which he personally opened with a song recital. In the year 2006 he received the "Honorary Radio Rainbow Award". In 2008, Heesters took on a supporting role in the Til Schweiger comedy "1 1/2 Knights - In Search of the Adorable Herzelinde". From July 2010, Heesters plays the king in Rolf Hochhuth's "Inselkomödie" in the Berliner Ensemble.
Johannes Heesters died on December 24, 2011 in Starnberg, at the age of 108.108- Writer
- Director
- Additional Crew
Legendary Broadway writer/producer/director George Abbott was born in 1887 in Forestville, New York. His father was mayor of Salamanca, New York, for two terms. In 1898 his family moved to Cheyenne, Wyoming, and Abbott attended Kearney Military Academy. The family returned to New York, where Abbott attended Hamburg High School, graduating in 1907, and the University of Rochester (BA degree in 1911). He wrote the play "Perfectly Harmless" for University Dramatic Club. He attended Harvard University from 1911-1912, studying play writing under George Pierce Baker, and wrote "The Head of the Family" for Harvard Dramatic Club. In 1912 he won $100 in a play contest sponsored by the Bijou Theatre in Boston, Massachusetts, for "The Man in the Manhole", and worked at the Bijou for a year as assistant stage manager. He made his Broadway debut as an actor in 1913 in "The Misleading Lady" (as Babe Merrill, a drunken student), followed by "The Yeoman of the Guard" (1915), "The Queen's Enemies" (1916), "Daddies" (1918), "The Broken Wing" (1920), "Dulcy" (on tour) (1921), "Zander the Great" (1923), "White Desert" (1923), "Hell-Bent for Heaven" (1924), "Lazybones" (1924), "Processional" (1925) and "Cowboy Crazy" (1926). From that point he concentrated on writing and directing, with "The Fall Guy" (his Broadway's debut, 1925), "Three Men on a Horse" (1935), "Jumbo" (1935), "On Your Toes" (1936), "The Boys from Syracuse" (1938), "Too Many Girls" (1939), "Pal Joey" (1940), "Best Foot Forward" (1941), "On the Town" (1944), "High Buttom Shoes" (1947), "Where's Charley?" (1948), "Call Me Madam" (1950), "A Tree Grows in Brooklyn" (1951), "Wonderful Town" (1953), "The Pajama Game" (1954), "Damn Yankees" (1955), "New Girl Town" (1957), "Fiorello!" (1959), "A Funny Thing Happened on the Way to Forum" (1962), "Flora, the Red Menace" (1965; Liza Minnelli's Broadway debut).
He won five Tony Awards and the Pulitzer Prize (for "Fiorello!"). He was nominated for an Oscar for writing All Quiet on the Western Front (1930). His daughter, Judith Abbott, is a stage actress/director and was married (1946-49) to Tom Ewell.107 and 7 months- Actress
- Soundtrack
Doris Eaton was born in Norfolk, Virginia, into a show business family. The young Doris began appearing on stage with her brothers Charles and Joseph and her sisters Mary and Pearl when she was five years old. She made her Broadway debut aside her brother Charles in "Mother Carey's Chickens" in 1917. The following year, the 14-year-old Doris became a Ziegfeld Girl, performing in the "Ziegfeld Follies" of 1918 and 1920 and the "Ziegfeld Midnight Frolic" in 1919. After having served her dance apprenticeship in legendary theatrical impresario Florenz Ziegfeld Jr.'s chorus for three years, she decamped for the movies. She made her screen debut in "At the Stage Door" (1921) in support of Billie Dove.
She moved to England to appear as the lead in three films, Tell Your Children (1922), The Call of the East (1922), and The Call of the East (1922). Back in America, she made The Broadway Peacock (1922) with Pearl White and High Kickers (1923) with Jack Cooper and the Gorham Follies Girls.
Doris returned to Broadway in 1924, appearing in the musical "No Other Girl" and the plays "The Sap" and "Excess Baggage." In 1925, she co-starred with Al Jolson in the musical comedy "Big Boy." She then appeared in the comedy "Excess Baggage" in 1927, and the musical comedy "Cross My Heart" the next year. Moving to Hollywood in 1929, she began a career as a featured dancer at the Music Box Review Theater on Sunset Boulevard. It was there that she introduced the song "Singin' in the Rain." Her last appearance on Broadway in a legitimate production was in the comedy "Page Pygmalion" in 1932.
Her career as a dancer began to peter out during the Great Depression, and she became an Arthur Murray dance instructor in 1936. Relocating to the state of Michigan, she eventually became the operator of 18 Arthur Murray dance schools. Eventually, Doris retired to Oklahoma with her husband Paul Tavis, where they operated a quarter horse ranch. When they built their house in Norman, Oklahoma, Doris demanded that the house have a foyer large enough for dancing. Doris still dances in the foyer at night.
"I have my little Victrola there and I play the records and I dance the foxtrot and the waltz and the rumba, though swaying by myself."
Doris has become a regular performer at Broadway's annual AIDS benefit. People express surprise that she was a Ziegfeld Girl.
"It seems that when people find out about it, they're astonished; and possibly because I'm still walking around."
Since her husband passed away in the year 2000, Doris lets people use the ranch to board their horses. Doris jokes, "I call it the Travis Ranch Nursing Home for Horses."
She had dropped out of school to pursue her dance career, but in the 1980s, Travis went back to college and graduated from the University of Oklahoma in 1992. She was named a member of the Phi Beta Kappa honor society while at the university.
At 101 years old, Doris was quoted as saying that dance was the primary reason for her longevity. In fact, her last stage appearance was one month short of her death at age 106.106 and 10 months- Producer
- Actor
- Director
Norman Lloyd was born Norman Perlmutter in Jersey City, New Jersey, to Sadie (Horowitz), a housewife and singer, and Max Perlmutter, a furniture store manager. His family was Jewish (from Hungary and Russia). He began his acting career in the theater, first "treading the boards" at Eva Le Gallienne's Civic Repertory in New York. Aspiring to work as a classical repertory player, he gradually shed his Brooklyn accent and became a busy stage actor in the 1930s; he next joined the original company of the Orson Welles-John Houseman Mercury Theatre. Lloyd was brought to Hollywood to play a supporting part (albeit the title role) in Alfred Hitchcock's Saboteur (1942). Hitchcock, who later used the actor in Spellbound (1945) and other films, made him an associate producer and a director on TV's long-running Alfred Hitchcock Presents (1955) (then in its third year). In the course of his eight years on the series, Lloyd became a co-producer (with Joan Harrison) and then executive producer. He has since directed for other series (including the prestigious Omnibus (1952)) and for the stage, produced TV's Tales of the Unexpected (1979) and Journey to the Unknown (1968), and played Dr. Auschlander in TV's acclaimed St. Elsewhere (1982).106 and 6 months.- Director
- Writer
- Editor
Manoel de Oliveira was born on 11 December 1908 in Oporto, Portugal. He was a director and writer, known for The Cannibals (1988), I'm Going Home (2001) and Christopher Columbus, the Enigma (2007). He was married to Maria Isabel Brandão de Meneses de Almeida Carvalhais. He died on 2 April 2015 in Oporto, Portugal.106 and 4 months- Actress
- Additional Crew
- Soundtrack
Born in Oaxaca, Mexico, Lupita Tovar appeared first in silent Fox films before making the move to Universal and co-starring in the Spanish-language version of 1930's "The Cat Creeps" (La voluntad del muerto (1930)). For the same producer, Czech-born Paul Kohner, she appeared as Eva Seward (the Spanish-language counterpart of Helen Chandler's Mina) in Universal's Spanish Dracula (1931). In 1932, she married Kohner, who later became one of the top agents in Hollywood. (Their actress-daughter, Susan Kohner, was Oscar-nominated for her performance in Universal's 1959 Imitation of Life (1959); their son, Pancho Kohner, is a producer). Tovar gave up films in the 1940s and has been widowed since 1988.106 and 3 months- Producer
- Additional Crew
- Production Manager
Run Run Shaw was born in Shanghai, China on October 4, 1907. He went into the filming industry with his brother, Runme Shaw, and established the Shaw Organization in 1926 and the Shaw Studios (formerly South Seas Film studio) in 1930. In 1967, Shaw established the famous Television Broadcasts Limited (TVB) station in Hong Kong, and it grew into a multi-billion dollar TV empire. TVB set the stage for numerous television sitcoms, drama series, documentaries and singing performances, as well as "Enjoy Yourself Tonight," a variety show similar to "Saturday Night Live."
Shaw owns many businesses throughout the world, including Macy's and Canada's Shaw Tower at Cathedral Place. Throughout the years, Shaw has donated billions of dollars to charities, schools and hospitals. As a result, many Hong Kong buildings were named after him.
Shaw himself has also made regular appearances in TV shows and programs from TVB, including their Chinese New Year celebration programs. During these programs, Shaw would often lead an "awakening" ceremony that precedes the famous Chinese Lion Dance. Shaw has continued to lead this tradition throughout the years.106 and 2 months- Additional Crew
- Actress
- Soundtrack
Julie Gibson was born on 6 September 1913 in Grant County, Washington, USA. She was an actress, known for Bowery Buckaroos (1947), The Contender (1944) and Chick Carter, Detective (1946). She was married to Charles Barton, Dean Dillman Jr. and Jimmie Grier. She died on 2 October 2019 in Los Angeles, California, USA.106 years, 1 month- Director
- Writer
- Actor
Miguel Morayta was born on 15 August 1907 in Ciudad Real, Castilla-La Mancha, Spain. He was a director and writer, known for El mártir del Calvario (1952), Vagabunda (1950) and La mujer marcada (1957). He died on 19 June 2013 in Mexico City, Mexico.105 and 10 months- Norrie Woodhall was born on 17 December 1905 in Dorset, England, UK. She died on 25 October 2011 in Owermoigne, Dorset, England, UK.105 and 10 months
- Actress
- Soundtrack
A promising star first with the Metropolitan Opera than on the Broadway and London stages, soprano Mary Ellis had little chance to prove herself as either a musical or dramatic film star with only a few creaky vehicles left for audiences to ponder. Her versatility on stage, however, was extensive, ranging from heavy doses of Shakespeare and Eugene O'Neill to the Restoration comedies of Sheridan and the light operettas of Oscar Hammerstein.
Born May Belle Elsas on June 15, 1897 of humble means in New York City, her family had emigrated to the States earlier from Alsace. Her father eventually prospered as a successful paper merchant. Mary inherited any artistic leanings from her mother who was a gifted pianist. She initially delved into painting before the desire to dedicate herself to song took hold. Studying with Madame Ashworth, Mary's had the makings of a great classical singer and was offered a multiple year contract with the Metropolitan Opera company at the age of 21. Given the stage name of Mary Ellis by the company, she made her debut with Puccini's "Suor Angelica" (1918) and went on to appear in "The Blue Bird" and "Boris Gudunov", among others. Arguably the highlights of her brief operatic career include her appearances opposite the legendary tenor Enrico Caruso in his final performance (Christmas Eve, 1920) of "The Elixir of Love" (he died the following year of pneumonia), and the renowned prima donna Geraldine Farrar in "Louise". However, in 1922, Mary's burgeoning desire to act on the legitimate stage took over and, against all advice, left the Met in 1922 to pursue her "new dream".
Already a name in opera, Mary joined the David Belasco theatre company. Belasco produced and directed her in her first Broadway production "The Merchant of Venice". A lovely, vibrant presence on stage, she subsequently appeared in "Casanova" and "The Merry Wives of Gotham", but did not become a full-fledged star until playing the titular heroine in Hammerstein's operetta "Rose-Marie". Career-threatening problems incurred when the impulsive Mary decided to leave the show before her tightly binding contract with Hammerstein was completed. As a result, she was prevented from ever performing again as a singer in America. She was now forced to return to high drama in straight plays. She subsequently appeared in a series of Broadway productions co-starring British actor Basil Sydney, which included her playing of Katherine to his Petruchio in "The Taming of the Shrew". Sydney became her third husband (following two short-lived marriages) in 1929.
Unable to escape her career restrictions, she and Sydney moved to England in 1931. She met with instantaneous success in O'Neill's epic drama "Strange Interlude" the following year. She also became a lovely muse for Ivor Novello on the 30s British stage, as noted in their successful teaming of "Glamorous Night" (1935) and "The Dancing Years" (1939). England gave her the opportunity to try films and she starred in two in 1934, the drama Bella Donna (1934) with John Stuart, Cedric Hardwicke and Conrad Veidt, and in the musical All the King's Horses (1935) in which she played the Queen of Langenstein. She also managed to return to America to star in the films Paris in Spring (1935) and Fatal Lady (1936). After filming her stage triumph Glamorous Night (1937) co-starring Otto Kruger back in England, she retired from the screen, unable to gain a strong footing.
Her marriage to Basil Sydney lasted but a few years. Her fourth and last husband, Jock Muir Stewart Roberts, a Scotsman, was a happy one until his tragic death twelve years later in a 1950 mountain-climbing accident. A volunteer nurse during WWII, Mary appeared sporadically on the post-war stage (notably the Old Vic) in such successful productions as "John Gabriel Borkman", "The School for Scandal", "The Browning Version" and "Hattie Stowe" in which she portrayed Harriet Beecher Stowe. After her husband's death she was seen less and less and took her last curtain call in "Mrs. Warren's Profession" in 1970. Isolated film appearances included The Magic Box (1951) and The 3 Worlds of Gulliver (1960).
Mary was seen briefly as late as the 1990s playing octogenarian roles, and during her twilight years published two autobiographies: Those Dancing Years (1982) and Moments of Truth (1986. Mary, who was childless, died in London at the ripe old age of 105 on January 30, 2003.105 and 7 months- Rosa Albach-Retty was born on 26 December 1874 in Hanau, Hesse, Germany. She was an actress, known for Geld auf der Straße (1930), Dreimal Hochzeit (1941) and Der Kongreß tanzt (1955). She was married to Karl Albach. She died on 26 August 1980 in Baden, Lower Austria, Austria.105 and 4 months
- Actress
- Soundtrack
Liane Haid was a prima ballerina, dancer, singer, stage and film actress. As a child, she studied voice and dancing and played at the Viennese Open Ballet. She worked in Budapest and Vienna as a dancer. On stage, she was in Berlin and Vienna. She also made close to a hundred movies - silents and talkies. She was the first female star of Austria. She was married three times. The last one was Swiss Dr. Carl Spycher, with which she had one son, the jazz musician, Pierre Spycher. She lived with her family near Bern, Switzerland, where she died at the age of 105 years young.105 and 3 months- Actress
- Additional Crew
Ruth Gruber was born on 30 September 1911 in Brooklyn, New York, USA. She was an actress, known for Carry On (2008), Exodus 1947 (1997) and Ahead of Time: The Extraordinary Journey of Ruth Gruber (2009). She was married to Henry J. Rosner and Philip H. Michaels. She died on 17 November 2016 in Manhattan, New York City, New York, USA.105 and 2 months- Director
- Animation Department
- Second Unit Director or Assistant Director
Don Lusk was born on 28 October 1913 in Los Angeles County, California, USA. He was a director and assistant director, known for Lady and the Tramp (1955), Sleeping Beauty (1959) and Alice in Wonderland (1951). He was married to Marjorie Gummerson. He died on 30 December 2018 in San Clemente, California, USA.105 and 2 months.- Connie Sawyer was born on 27 November 1912 in Pueblo, Colorado, USA. She was an actress, known for Dumb and Dumber (1994), Pineapple Express (2008) and Out of Sight (1998). She was married to Marshall Schacker. She died on 21 January 2018 in Woodland Hills, California, USA.105 and 2 months
- Actress
- Soundtrack
Licia Albanese was born on 23 July 1909 in Bari, Apulia, Italy. She was an actress, known for Otello (1948), Serenade (1956) and Great Performances (1971). She was married to Joseph A. Gimma. She died on 15 August 2014 in Manhattan, New York City, New York, USA.105 and 1 month- Actress
- Soundtrack
Luise Rainer, the first thespian to win back-to-back Oscars, was born on January 12, 1910 in Dusseldorf, Germany, into a prosperous Jewish family. Her parents were Emilie (Königsberger) and Heinrich Rainer, a businessman. She took to the stage, and plied her craft on the boards in Germany. As a young actress, she was discovered by the legendary theater director Max Reinhardt and became part of his company in Vienna, Austria. "I was supposed to be very gifted, and he heard about me. He wanted me to be part of his theater," Rainer recounted in a 1997 interview. She joined Reinhardt's theatrical company in Vienna and spent years developing as an actress under his tutelage. As part of Reinhardt's company, Rainer became a popular stage actress in Berlin and Vienna in the early 1930s. Rainer was a natural talent for Reinhardt's type of staging, which required an impressionistic acting style.
Rainer, who made her screen debut as a teenager and appeared in three other German-language films in the early 1930s, terminated her European career when the Austrian Adolf Hitler consolidated his power in Germany. With his vicious anti-Semitism bringing about the Draconian Nuremberg Laws severely curtailing the rights of Germany's Jews, and efforts to expand that regime into the Sudetenland and Austria, Hitler and his Nazi government was proving a looming threat to European Jewry. Rainer had been spotted by a talent scout, who offered her a seven-year contract with the American studio Metro-Goldwyn-Mayer. The 25-year-old Rainer took the deal and emigrated to the United States.
She made her American debut in the movie Escapade (1935), replacing Myrna Loy, who was originally slated for the part. It was her luck to have William Powell as her co-star in her first Hollywood film, as he mentored her, teaching her how to act in front of the camera. Powell, whom Rainer remembers as "a dear man" and "a very fine person," lobbied MGM. boss Louis B. Mayer, reportedly telling him, "You've got to star this girl, or I'll look like an idiot."
During the making of "Escapade", Rainer met, and fell in love with, the left-wing playwright Clifford Odets, then at the height of his fame. They were married in 1937. It was not a happy union. MGM cast Rainer in support of Powell in the title role of the The Great Ziegfeld (1936), its spectacular bio-epic featuring musical numbers that recreated his "Follies" shows on Broadway. As Anna Held, Ziegfeld's common-law wife, Rainer excelled in the musical numbers, but it is for her telephone scene that she is most remembered. "The Great Ziegfeld" was a big hit and went on to win the Academy Award as Best Picture of 1936. Rainer received her first of two successive Best Actress Oscars for playing Held. The award was highly controversial at the time as she was a relative unknown and it was only her first nomination, but also because her role was so short and relatively minor that it better qualified for a supporting nomination. (While 1936 was the first year that the Academy of Motion Picture Arts & Sciences honored supporting players, her studio, Metro-Goldwyn-Mayer, listed her as a lead player, then got out its block vote for her.) Compounding the controversy was the fact that Rainer beat out such better known and more respected actresses as Carole Lombard (her sole Oscar nomination) in My Man Godfrey (1936), previous Best Actress winner Norma Shearer (her fifth nomination) in Romeo and Juliet (1936), and Irene Dunne (her second of five unsuccessful nominations) in Theodora Goes Wild (1936). Some of the bitchery was directed toward Louis B. Mayer, whom non-MGM Academy members resented for his ability to manipulate Academy votes. Other critics of her first Oscar win claimed it was the result of voters being unduly impressed with the great budget ($2 million) of "The Great Ziegfeld" rather than great acting. Most observers agree that Rainer won her Oscar as the result of her moving and poignant performance in just one single scene in the picture, the famous telephone scene in which the broken-hearted Held congratulates Ziegfeld over the telephone on his upcoming marriage to Billie Burke while trying to retain her composure and her dignity. During the scene, the camera is entirely focused on Rainer, and she delivers a tour-de-force performance. Seventy years later, it remains one of the most famous scenes in movie history. With another actress playing Held, the scene could have been mawkish, but Rainer brought the pathos of the scene out and onto film. She based her interpretation of the scene on Jean Cocteau's play "La Voix Humaine". "Cocteau's play is just a telephone conversation about a woman who has lost her beloved to another woman", Rainer remembered. "That is the comparison. As it fit into the Ziegfeld story, that's how I wrote it. It's a daily happening, not just in Cocteau." In an interview held 60 years after the film's release, Rainer was dismissive of the performance. "I was never proud of anything", she said. "I just did it like everything else. To do a film - let me explain to you - it's like having a baby. You labor, you labor, you labor, and then you have it. And then it grows up and it grows away from you. But to be proud of giving birth to a baby? Proud? No, every cow can do that."
Rainer would allay any back-biting from Hollywood's bovines over her first Oscar with her performance as O-Lan in MGM producer Irving Thalberg's spectacular adaptation of Pearl S. Buck's "The Good Earth", the former Boy Wonder's final picture before his untimely death. The role won Rainer her second Best Actress Award. The success of The Good Earth (1937) was rooted in its realism, and its realism was enhanced by Rainer's acting opposite the legendary Paul Muni as her husband. When Thalberg cast Muni in the role of Wang Lung, he had to abandon any thought of casting the Chinese-American actress Anna May Wong as O-Lan as the Hays Office would not allow the hint of miscegenation, even between an actual Chinese woman and a Caucuasian actor in yellow-face drag. So, Thalberg gave Rainer the part, and she made O-Lan her own. She refused to wear a heavy makeup, and her elfin look helped her to assay a Chinese woman with results far superior to those of Myrna Loy in her Oriental vamp phase or Katharine Hepburn in Dragon Seed (1944). In the late 1990s, Rainer praised her director, Sidney Franklin, as "wonderful", and explained that she used an acting technique similar to "The Method" being pioneered by her husband's Group Theatre comrades back in New York. "I worked from inside out", she said. "It's not for me, putting on a face, or putting on makeup, or making masquerade. It has to come from inside out. I knew what I wanted to do and he let me do it." The win made Rainer the first two-time Oscar winner in an acting category and the first to win consecutive acting awards (Spencer Tracy, her distaff honoree for Captains Courageous (1937) would follow her as a consecutive acting Oscar winner the next year, and Walter Brennan, Best Supporting Actor Oscar winner for Come and Get It (1936) the year Rainer won her first, would tie them both in 1937 with his win for Kentucky (1938) and trump them with his third win for The Westerner (1940), a record subsequently tied by Ingrid Bergman, Jack Nicholson, Meryl Streep, Daniel Day-Lewis, and surpassed by Katharine Hepburn.)
Rainer's career soon went into free-fall and collapsed, as she became the first notable victim of the "Oscar curse", the phenomenon that has seem many a performer's career take a nose-dive after winning an Academy Award. "For my second and third pictures I won Academy Awards. Nothing worse could have happened to me", Rainer said. A non-conformist, Rainer rejected Hollywood's values of Hollywood. In the late 1990s, she said, "I came from Europe where I was with a wonderful theater group, and I worked. The only thing on my mind was to do good work. I didn't know what an Academy Award was." MGM boss Mayer, the founding force behind the Academy of Motion Picture Arts and Sciences, had to force her to attend the Awards banquet to receive her Oscar. She rebelled against the studio due to the movies that MGM forced her into after "The Good Earth".
In one case, director Dorothy Arzner had been assigned by MGM producer Joseph M. Mankiewicz (whose wife, Rose Stradner had been Rainer's understudy in the Vienna State Theater) in 1937 to direct Rainer in "The Girl from Trieste", an unproduced Ferenc Molnár play about a prostitute trying to go reform herself who discovers the hypocrisies of the respectable class which she aspires to. After Thalberg's death in 1936, Mayer's lighter aesthetic began to rule the roost at MGM. Mayer genuinely believed in the goodness of women and motherhood and put women on a pedestal; he once told screenwriter Frances Marion that he never wanted to see anything produced by MGM that would embarrass his wife and two daughters.
Without the more sophisticated Thalberg at the studio to run interference, Molnar's play was rewritten so that it was no longer about a prostitute, but a slightly bitter Cinderella story with a happy ending. Retitled by Mankiewicz as The Bride Wore Red (1937), Rainer withdrew and was replaced by Joan Crawford. In a 1976 interview in "The New York Times", Arzner claimed that Rainer "had been suspended for marrying a Communist" (Clifford Odets). This is unlikely as MGM, like all Hollywood studios, had known or suspected communists on its payroll, most of whose affiliations were known by MGM vice president E.J. Mannix. (Mannix, one of whose functions was responsibility for security at the studio, once said it would have been impossible to fire them all, as "the communists" were the studio's best writers.) The studio never took action against alleged communists until an industry-wide agreement to do so was sealed at the Waldorf Conference of 1947, which was held in reaction to the House of Un-American Activities Committee (HUAC) launching a Hollywood witch hunt.
It was more likely that Rainer, fussy over her projects and wanting to use her Academy Award prominence to ensure herself better roles, withdrew on her own due to her lack of enthusiasm for the reformulated product. In the late 1990s, Rainer recalled the satisfaction of being a European stage actress. "One day we were on a big tour", she told an interviewer in the late 1990s. "We did a play by Pirandello, and Reinhardt was in the theater. I shall never forget, it was the greatest compliment I ever got, better than any Academy Award. He came to me, looked at me and said - we were never called by first names - 'Rainer, how did you do this?' It was so wonderful. 'How did you create this?' I was so startled and happy. That was my Academy Award." Rainer still is dismissive of the Academy Awards. "I can't watch the Oscars," she said. "Everybody thanking their mother, their father, their grandparents, their nurse - it's a crazy, horrible." She blames the studio and Mayer for the rapid decline in her career. "What they did with me upset me very much", she said in a 1997 interview. "I was dreaming naturally like anyone to do something very good, but after I got the two Academy Awards the studio thought, it doesn't matter what she gets. They threw all kinds of stuff on me, and I thought, no, I didn't want to be an actress."
Mayer pulled his famous emotional routines when Rainer, whom he wanted to turn into a glamorous star, would demand meatier roles. "He would cry phony tears", she recalled. Mayer had opposed her being cast as O-Lan in "The Good Earth", but Thalberg, who had a connection with MGM capo di tutti capi Nicholas Schenck, the president of MGM corporate parent Loew's, Inc., appealed to Schenck, who overrode Mayer's veto. (Mayer, who was involved in a power struggle with Thalberg before the latter's death, had opposed his filming Pearl Buck's novel. Mayer's reasoning was that American audiences wouldn't patronize movies about American farmers, so what made anyone think they'd flock to see a film about Chinese farmers, especially one with such a big budget, estimated at $2.8 million. (Upon release, the film barely broke even.) Thalberg died during the filming of "The Good Earth" (the only film of his released by MGM whose title credits bore his name, in the form of a posthumous tribute).
Rainer felt lost without her protector. She recalled that Mayer "didn't know what to do with me, and that made me so unhappy. I was on the stage with great artists, and everything was so wonderful. I was in a repertory theater, and every night I played something else." Rainer asked to play Nora in a film of Ibsen's "A Doll's House" or portray Madame Curie, but instead, Mayer - now in complete control of the studio - had her cast in The Toy Wife (1938), a movie she actually wound up liking, as she was charmed by her co-star, the urbane, intellectually and politically enlightened Melvyn Douglas. She recalls Douglas, ultimately a double-Oscar winner like herself, as her favorite leading man. "He was intelligent, and he was interested also in other things than acting."
Her problems with the culture of Hollywood, or the lack thereof, were worsening. The lack of intellectual conversation or concern with ideas by the denizens of the movie colony she was forced to work with was depressing. Hollywood was an unsophisticated place where materialism, such as the stars' preoccupation with clothes, was paramount. As she tells it, "Soon after I was there in Hollywood, for some reason I was at a luncheon with Robert Taylor sitting next to me, and I asked him, 'Now, what are your ideas or what do you want to do', and his answer was that he wanted to have 10 good suits to wear, elegant suits of all kinds, that was his idea. I practically fell under the table."
MGM teamed her with fellow Oscar-winner Tracy in Big City (1937), a movie about conflict between rival taxi drivers. The memory of the movie disgusted her. "Supposedly it wasn't a bad film, but I thought it was a bad film!" She was also cast in The Emperor's Candlesticks (1937), reteaming her with "Ziegfeld" co-star Powell, a movie she didn't like, as she couldn't understand its story. A detective tale, the script thoroughly confused Rainer, who was expected to soldier on like a good employee. Instead, she resisted.
After appearing in The Great Waltz (1938) and Dramatic School (1938), her career was virtually over by 1938. She never made another film for MGM. "I just had to get away", she said about Hollywood. "I couldn't bear this total concentration and interviews on oneself, oneself, oneself. I wanted to learn, and to live, to go all over the world, to learn by seeing things and experiencing things, and Hollywood seemed very narrow." When World War II broke out in Europe, Rainer was joined by her family, as her German-born father was also an American citizen, allowing them all to escape Hitler and the Holocaust. Even before the outbreak of war, Rainer had been very worried about the state of affairs of the world, and she could not abide the escapist trifles that MGM wanted to cast her in. When she protested, Mayer told Rainer that if she defied him, he would blackball her in Hollywood.
Disturbed by Hollywood's apathy over fascism in Europe and Asia and by labor unrest and poverty in the U.S., she decided to walk out on her contract. She and Odets returned to New York. They were divorced in 1940. "Hollywood was a very strange place", she remembered. "To me, it was like a huge hotel with a huge door, one of those rotunda doors. On one side people went in, heads high, and very soon they came out on the other side, heads hanging." Her frustration with Hollywood was so complete, she abandoned movie acting in the early 1940s, after making the World War II drama Hostages (1943) for Paramount.
She made her Broadway debut in the play "A Kiss for Cinderella", which was staged by Lee Strasberg, which opened at the Music Box Theatre on March 10, 1942 and closed April 18th after 48 performances. Rainer then worked for the war effort during World War II, appearing at war bond rallies. She went on a tour of North Africa and Italy for the Army Special Service, socializing with soldiers to build their morale, and supplying them with books. The experience changed her life, allowing her to get over the shyness she'd had all her life. It also broadened her experience, forcing her to deal with the obvious fact that there were more important things than movie acting, which had proven unfulfilling to her.
Fortunately, Rainer found happiness in a long-lived marriage with the publisher Robert Knittel, a wealthy man whom she married in 1945. The couple had a daughter and made their home mostly in Switzerland and England as Rainer essentially left acting behind, although she did do some television in the 1940s, '50s, and '60s. Her retirement from the movies lasted for 53 years, until her brief comeback in The Gambler (1997), a movie based on Fyodor Dostoevsky's eponymous story. In the film, Rainer played the role of the matriarch of an aristocratic Russian family in the 1860s who is in hock due to the family members' obsession with gambling.
Toward the end of her life, Rainer lived in a luxurious flat in Eaton Square in London's Belgravia district, in a building where Vivien Leigh once lived. Blessed with a good memory, she claimed she could not remember the 1937 Academy Awards ceremony, when she won her first Oscar. She says the glamour of the event was out of sync with her life at the time, which was one of great sadness. "I married Clifford Odets. The marriage was for both of us a failure. He wanted me to be his little wife and a great actress at the same time. Somehow I could not live up to all of that."
She had intriguing offers during her long retirement. Federico Fellini had wanted Rainer for a role in La Dolce Vita (1960), but though she admired the director, she didn't like the script and turned it down. Rainer occasionally plied her craft as an actress on the stage. She made one more stab at Broadway, appearing in a 1950 production of Ibsen's "The Lady from the Sea", which was staged by Sam Wanamaker and Terese Hayden and co-starred Steven Hill, one of the founding members of Lee Strasberg's Actor's Studio. The play was a flop, running just 16 performances. "I was living in America and was on the stage there - sporadically. I always lived more than I worked. Which doesn't mean that I do not love my profession, and every moment I was in it gave me great satisfaction and happiness."
Rainer had no regrets over not becoming the star she might have been. She outlived all of the legendary stars of her era, which likely is the best revenge for the loss of her career after bidding adieu to a company town she could not abide.104 and 11 months- Actress
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Stardom somehow eluded this vastly gifted actress. Had it not perhaps been for her low-level profile compounded by her McCarthy-era blacklisting in the early 1950s, there is no telling what higher tier Marsha Hunt might have attained. Perhaps her work was not flashy enough, or too subdued, or perhaps her intelligence too often disguised a genuine sex appeal to stand out among the other lovelies. Two studios, Paramount in the late 1930s and MGM in the early 1940s, failed to complete her star. Nevertheless, her talent and versatility cannot be denied. This glamorous, slimly handsome leading lady offered herself to well over 50 pictures during the 1930s and 1940s alone.
Christened Marcia Virginia Hunt, the Chicago-born actress was the younger of two girls born to an attorney and voice teacher/accompanist. The family relocated to New York when she was quite young and she attended such schools as PS #9 and Horace Mann School for Girls. She developed an interest in acting at an early age (3), performing around and about in school plays and at church functions. Following her high school graduation the young beauty found work as a John Powers model and as a singer on radio, a gift obviously inherited from her mother. Marcia (she later changed the spelling of her first name to Marsha) studied drama at the Theodora Irvine Drama School (one of her fellow students was Cornel Wilde).
Encouraged to try Hollywood by various New York people in the business, the young photogenic hopeful moved there in 1934. She was only 17 but was accompanied by her older sister. It didn't take long for the studios to take an interest in her and she was signed up by Paramount not long after. Marsha's very first movie was in a featured role opposite Robert Cummings and Johnny Downs in the old-fashioned The Virginia Judge (1935). Displaying an innate, fresh-faced sensitivity, she moved directly into her second film, playing the title role in Gentle Julia (1936), this time with Tom Brown as her romantic interest.
Marsha continued to show promise but these well-acted roles were, more often than not, overlooked in mild "B"-level offerings. Appearing in co-starring roles in everything from westerns (Desert Gold (1936) and Thunder Trail (1937)) to folksy or flyweight comedy (Easy to Take (1936) and Murder Goes to College (1937)), she could not find decent enough scripts at Paramount. Though she was once deemed one of the studio's promising starlets, one of her last films there was another prairie flower role--[error]--with cowboys John Wayne and Johnny Mack Brown vying for her attention. At about this time (1938) she married Jerry Hopper, a Paramount film editor who turned to directing in the 1950s. This marriage lasted but a few years.
Freelancing for a time for many studios, Marsha's more noticeable war-era work in sentimental comedy and staunch war dramas came from MGM, and she finally signed with the studio in 1939. The roles offered, which included a featured part as one of the sisters in Pride and Prejudice (1940) starring Greer Garson, and again as a sister to Garson in Blossoms in the Dust (1941), which showed much more promise. Some of her better war-era roles came in the films Cheers for Miss Bishop (1941), Kid Glove Killer (1942) and The Affairs of Martha (1942). During this time she also sang on extended USO tours and stayed busy on radio. Her best known film is arguably The Human Comedy (1943) but she wasn't the star. Other film roles had her in support of others, such as Margaret Sullavan in Cry 'Havoc' (1943), little Margaret O'Brien in Lost Angel (1943) and Garson again in The Valley of Decision (1945). Leading roles did not come in "A" pictures.
Her MGM contract was allowed to lapse in 1945 and a second marriage in 1946, to screenwriter Robert Presnell Jr., became a higher priority. The marriage was long and happy (exactly 40 years) and lasted until his passing in June of 1986. The few pictures she made were, again, uneventful or in support of the star, although she did have a catchy, unsympathetic role in the Susan Hayward starrer Smash-Up: The Story of a Woman (1947) as a scheming secretary. In Raw Deal (1948), starring Dennis O'Keefe, she got the "raw deal" being overshadowed as a "good girl" by the "bad girl" posturings of Claire Trevor. At this point of her career she decided to try the stage and made her Broadway debut in "Joy to the World" (1948). Other plays down the road would include "The Devil's Disciple" with Maurice Evans, "The Lady's Not for Burning" with Vincent Price and "The Little Hut" with Leon Ames. She even had a chance to return to her beloved singing as Anna in a production of "The King and I" and (much later) in productions of "State Fair" and "Meet Me in St. Louis". TV also yielded some new work opportunities, including a presentation of "Twelfth Night" in which she portrayed Viola.
The seams of her film career fell apart in the early 1950s. During the late 1930s and into the 1940s she signed a number of petitions promoting liberal ideals, and was a member of the Committee for the First Amendment. A strong supporter of freedom of speech, these associations led to her name appearing in the pamphlet "Red Channels", a McCarthy-era publication that "exposed" alleged Communists and "subversives". Although she and her husband were never called before the House Un-American Activities Commission, their names were nevertheless smeared all over Hollywood as "Reds". While she still found film work on occasion, it was rare. Although she had worked steadily from 1935 until 1949, appearing in over 50 films, she made only three films in the next eight years. Her screenwriter husband would be credited for only one film from 1948 to 1955.
Semi-retired by the early 1960s, stage and TV became Marsha's focal points. She also devoted herself to civil rights causes and such humanitarian efforts as UNICEF, The March of Dimes and The Red Cross. She became actively involved with the United Nations. On the acting front she appeared only in smaller roles in five films but in numerous TV programs and made-for-TV movies, playing everything from judges to grandmas. She became the Honorary Mayor of Sherman Oaks, California, in 1983, and published a book on fashion entitled "The Way We Wore" in 1993. Widowed in 1986, the ever-vibrant Marsha, in her 90s, continues to serve on the Advisory Board of Directors for the San Fernando Valley Community Mental Health Center, a large non-profit that advocates for adults and children affected by homelessness and mental illness. As recently as 2006, she appeared to good advantage in the movie Chloe's Prayer (2006) and, at age 91, was seen in Empire State Building Murders (2008).104 and 11.- 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.104 and 8- Actress
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Audrey Munson was a model and actress who achieved fame in the early part of the 20th Century in the United States. Born on June 8, 1891, in Rochester, New York, Munson was the only child produced by the marriage of Edgar Munson and Katherine Mahoney Munson. After her parents divorced, Munson was raised by her mother. At age 17, she and her mother moved to New York City where she began modeling.
By her early 20's, Munson had posed for numerous sculptures on display around New York, including the Firemen's Monument, the Pulitzer Memorial, and the Maine Monument in Central Park, commemorating the 260 American sailors who died in 1898 when the battleship Maine exploded in the harbor of Havana, Cuba. Then, in 1915, at age 23, her popularity grew when she was selected as "The Panama Girl" and posed for both sculptures and painting to be exhibited that year in San Francisco at the Panama-Pacific Exposition. During this time, newspapers erroneously reported Munson's birthplace as New York City.
That year, her life story inspired a motion picture named Inspiration, loosely based on her own experiences as a professional model. The movie features full nudity, and led to a ban by some theaters before a screening and a prohibiting of a second screening once the nudity was discovered. Following its release, Munson expressed an interest in moving further into performance, naming vaudeville as a place to explore next. Movie audiences around the country would see her again in 1919 when Inspiration was adapted as The Perfect Model. Her work in film would be limited to a few roles, including posing in long shots as herself in the 1921 silent movie, Heedless Moths, loosely based on her life.
Her personal life began to generate more interest than her professional work in 1919 when she was connected to a murder case involving a New York physician who was charged with killing his wife. Although she wasn't implicated in the crime, Munson pointed to its publicity in the newspapers as a reason for the downfall of her career. By late 1920, she had left New York and was living in Syracuse in what newspaper accounts characterize as "shabby" conditions, and attempted to earn an income making personal appearances in the region.
Munson made an attempt to start over by requesting a New York newspaper falsely report her death so she could assume a new identity. The report of her request was published in October 1920, and Munson shared in the story how her film contract was ended and she was unable to secure a new one with other studios due to the negative publicity over the murder case. After considering other cities, she went home to Syracuse where she applied for numerous jobs, but claims no one would hire her.
In 1921, Munson turned to writing as a means of sharing her story with an audience of newspaper readers. Starting in late January of that year and continuing into May, the New York American published her stories on consecutive Sundays. Munson used the medium as a way to tell the public about her experiences, misfortunes, and observations as a model and an actress. In the same year, Munson turned to the newspapers to publicize how she was looking for the "perfect" man to marry.
In April 1922, she made headlines again when newspapers reported Munson had found a mate. Articles named an army aviator and electrical contractor from Ann Arbor, Michigan, as the man Munson would marry, but no marriage would take place. A month later, newspapers reported the former model survived a suicide attempt after ingesting poison.
Munson remained in Central New York for many years, living in relative obscurity. Movie audiences nationwide continued to see her work on occasion when her films, including Heedless Moths, played at theaters well past their original release years. She returned to making headlines later in the decade when, in spring of 1926, newspapers reported Munson moved to a farm in Mexico, New York, to continue her private life and make a new home for her aging mother.
Five years later, on Munson's 40th birthday, Munson's mother petitioned a judge in Oswego, New York, to commit her to an institution for treatment of depression and schizophrenia. She was sent to the St. Lawrence State Hospital in Ogdensburg, New York, later renamed the St. Lawrence Psychiatric Center, where she remained a patient until she died at age 104 on February 20, 1996. She's buried alongside her father, stepmother, and a half-sister at a family plot in New Haven Cemetery in New Haven, New York.104 and 8 months- Neal Arden was born on 27 December 1909 in Fulham, London, England, UK. He was an actor, known for Life of St. Paul (1938), The Best House in London (1969) and Department S (1969). He was married to Julia Byfield and Dorothy Brown. He died on 4 June 2014 in Huntingdon, Cambridgeshire, England, UK.104 and 6 months
- Beverly Cleary was born on 12 April 1916 in McMinnville, Oregon, USA. She was a writer, known for Ramona and Beezus (2010), Ramona (1988) and ABC Weekend Specials (1977). She was married to Clarence Thomas Cleary. She died on 25 March 2021 in Carmel, California, USA.104 and 3 months.
Not an actor but a writer that has several shows or movies based on her work. - Actress
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Caren Marsh was born in Los Angeles. Her sister, actress Dorothy Morris, was born Feb. 23, 1922. Getting into show business in 1937, Caren changed her name to Marsh because "there were too many people named Morris at the time." Caren's parents wanted her to go to college but she wanted to be a dancer. Learning of an audition for dancers at MGM she tried out and was cast in Eleanor Powell's "Rosalie" in '37. This led to more and more pictures as a dancer. "Being tiny (Caren is 5 ft.), I was a 'pony'. The tall girls are called showgirls." While working with great choreographers such as Busby Berkerley, Nick Castle and Hermes Pan, she was spotted at Metro and cast as Judy Garland's stand-in in "The Wizard of Oz" ('39). Her first real acting part was in an Army Signal Corps Hygiene film, "Pickup Girl" in '44. After gaining a foothold in Hollywood, Caren went to New York in '49 to work with ventriloquist Paul Winchell at the Capitol Theatre. Flying home to visit her parents, the plane went too low and crashed into a mountain.The aircraft was in level flight on its initial approach to Burbank, with its landing gear extended, when it descended below the officially prescribed altitude of 5,000 feet while flying in patchy fog. As a result, the plane's right wingtip struck a mountain ridge near Box Canyon in the northwest corner of the San Fernando Valley, near Santa Susana Pass and the Los Angeles County-Ventura County border. The Curtiss C-46E-1-C airliner (N79978) spun 90 degrees, struck the ground, bounced back into the air and then crashed on a rugged hillside of the Simi Hills at an altitude of about 1,890 feet just north of the Chatsworth Reservoir. Both pilots, a flight attendant, and 32 passengers died in the crash, including two young children. The remaining flight attendant and 12 passengers escaped with moderate to serious injuries. Fortunately, Caren was one of those 12. In 1950 Caren married Bill Doll, producer Mike Todd's press agent, and traveled all over the world. Today, Caren lives in Palm Springs, has taught dancing and attends both western film festivals and "Wizard of Oz" reunions when she can.104 years and 2 months and counting- Actress
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Olivia Mary de Havilland was born on July 1, 1916 in Tokyo, Japan to British parents, Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her sister Joan, later to become famous as Joan Fontaine, was born the following year. Her surname comes from her paternal grandfather, whose family was from Guernsey in the Channel Islands. Her parents divorced when Olivia was just three years old, and she moved with her mother and sister to Saratoga, California.
After graduating from high school, where she fell prey to the acting bug, Olivia enrolled in Mills College in Oakland, where she participated in the school play "A Midsummer Night's Dream" and was spotted by Max Reinhardt. She so impressed Reinhardt that he picked her up for both his stage version and, later, the Warner Bros. film version in 1935. She again was so impressive that Warner executives signed her to a seven-year contract. No sooner had the ink dried on the contract than Olivia appeared in three more films: The Irish in Us (1935), Alibi Ike (1935), and Captain Blood (1935), this last with the man with whom her career would be most closely identified: heartthrob Errol Flynn. He and Olivia starred together in eight films during their careers. In 1939 Warner Bros. loaned her to David O. Selznick for the classic Gone with the Wind (1939). Playing sweet Melanie Hamilton, Olivia received her first nomination for an Academy Award for Best Supporting Actress, only to lose out to one of her co-stars in the film, Hattie McDaniel.
After GWTW, Olivia returned to Warner Bros. and continued to churn out films. In 1941 she played Emmy Brown in Hold Back the Dawn (1941), which resulted in her second Oscar nomination, this time for Best Actress. Again she lost, this time to her sister Joan for her role in Suspicion (1941). After that strong showing, Olivia now demanded better, more substantial roles than the "sweet young thing" slot into which Warners had been fitting her. The studio responded by placing her on a six-month suspension, all of the studios at the time operating under the policy that players were nothing more than property to do with as they saw fit. As if that weren't bad enough, when her contract with Warners was up, she was told that she needed to make up the time lost because of the suspension. Irate, she sued the studio, and for the length of the court battle she didn't appear in a single film. The result, however, was worth it. In a landmark decision, the court said that not only would Olivia not need to make up the time, but also that all performers would be limited to a seven-year contract that would include any suspensions handed down. This became known as the "de Havilland decision": no longer could studios treat their performers as chattel. Olivia returned to the screen in 1946 and made up for lost time by appearing in four films, one of which finally won her the Oscar that had so long eluded her: To Each His Own (1946), in which she played Josephine Norris to the delight of critics and audiences alike. Olivia was the strongest performer in Hollywood for the balance of the 1940s.
In 1948 she turned in another strong showing in The Snake Pit (1948) as Virginia Cunningham, a woman suffering a mental breakdown. The end result was another Oscar nomination for Best Actress, but she lost to Jane Wyman in Johnny Belinda (1948). As in the two previous years, she made only one film in 1949, but she again won a nomination and the Academy Award for Best Actress for The Heiress (1949). After a three-year hiatus, Olivia returned to star in My Cousin Rachel (1952). From that point on, she made few appearances on the screen but was seen on Broadway and in some television shows. Her last screen appearance was in The Fifth Musketeer (1979), and her last career appearance was in the TV movie The Woman He Loved (1988).
Her turbulent relationship with her only sibling, Joan Fontaine, was press fodder for many decades; the two were reported as having been permanently estranged since their mother's death in 1975, when Joan claimed that she had not been invited to the memorial service, which she only managed to hold off until she could arrive by threatening to go public. Joan also wrote in her memoir that her elder sister had been physically, psychologically, and emotionally abusive when they were young. And the iconic photo of Joan with her hand outstretched to congratulate Olivia backstage after the latter's first Oscar win and Olivia ignoring it because she was peeved by a comment Joan had made about Olivia's new husband, Marcus Goodrich, remained part of Hollywood lore for many years.
Nonetheless, late in life, Fontaine gave an interview in which she serenely denied any and all claims of an estrangement from her sister. When a reporter asked Joan if she and Olivia were friends, she replied, "Of course!" The reporter responded that rumors to the contrary must have been sensationalism and she replied, "Oh, right--they have to. Two nice girls liking each other isn't copy." Asked if she and Olivia were in communication and spoke to each other, Joan replied "Absolutely." When asked if there ever had been a time when the two did not get along to the point where they wouldn't speak with one another, Joan replied, again, "Never. Never. There is not a word of truth about that." When asked why people believe it, she replied "Oh, I have no idea. It's just something to say ... Oh, it's terrible." When asked if she had seen Olivia over the years, she replied, "I've seen her in Paris. And she came to my apartment in New York often." The reporter stated that all this was a nice thing to hear. Joan then stated, "Let me just say, Olivia and I have never had a quarrel. We have never had any dissatisfaction. We have never had hard words. And all this is press." Joan died in 2013.
During the hoopla surrounding the 50th anniversary of GWTW in 1989, Olivia graciously declined requests for all interviews as the last of the four main stars. She enjoyed a quiet retirement in Paris, France, where she resided for many decades, and where she died on 26 July, 2020, at the age of 104.
As well as being the last surviving major cast member of some of cinema's most beloved pre-war and wartime film classics (including The Adventures of Robin Hood (1938) and Gone with the Wind (1939)), and one of the longest-lived major stars in film history, Olivia de Havilland was unquestionably the last surviving iconic figure from the peak of Hollywood's golden era during the late 1930s, and her passing truly marked the end of an era.104- A pretty, diminutive (4'11") actress of the silent and early sound era, Barbara Cloutman (later Kent) was born in Gadsby, Alberta, Canada on December 16, 1907. Upon graduating from Hollywood High School in 1925, Kent won the Miss Hollywood Pageant, and set her sights on a career in the movies. She was 18 when Universal Studios signed her; she made her film debut in the western Prowlers of the Night (1926). That same year, Kent established herself with the classic romantic melodrama Flesh and the Devil (1926), in which she played the rival to femme fatale Greta Garbo's affections for John Gilbert. She was loaned to MGM for that movie. Kent was selected as one of the WAMPAS Baby Stars of 1927 as a result of the popularity of her film No Man's Law (1927), in which she had a nude scene.
Kent subsequently appeared opposite Richard Barthelmess in The Drop Kick (1927) and had a starring role in another silent classic, Lonesome (1928), before smoothly making the transition to talkies. She played Harold Lloyd's love interest in his first two sound movies, Welcome Danger (1929) and Feet First (1930). Kent had supporting parts opposite Gloria Swanson in Indiscreet (1931) and Marie Dressler in Emma (1932), as well as playing the role of the aunt in Oliver Twist (1933) (notable since the character is often omitted from dramatizations of the novel).
In 1933, Kent took a year-long hiatus from acting so that her new husband, talent agent Harry E. Edington, could groom her for what he intended to be a high-profile return. Unfortunately, Kent's popularity had declined by the time she did return. She made three more films between 1935 and 1941, before retiring from the screen.
Edington died in 1949, and Kent remarried in 1954, to Jack Monroe, an engineer. They settled in Palm Desert, California, where Kent remained after Monroe's death. Her retirement was long and peaceful; she passed away on October 13, 2011 at the age of 103.103 and 10 Months - Actress
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Although British actress Kathleen Harrison was born in 1892 in the Lancashire town of Blackburn, she was fondly known for her cockney characters throughout her career. Trained for the stage at the Royal Academy of Dramatic Art she first married and lived overseas in Argentina for nearly eight years. Upon her return she made her initial stage appearance in "The Constant Flirt" in 1926. In the 30s she found her way onto the screen, taking many of her delightful theatre roles to film, including Line Engaged (1935), Night Must Fall (1937) (probably her most noteworthy), and Who Is Guilty? (1939). She added immeasurable Dickensian flavor as various maids and mums to such classics as Oliver Twist (1948), A Christmas Carol (1951) and The Pickwick Papers (1952).
She was also openly received as Mrs. Huggett in the "Huggett Family" series that ran a few years in the late 40s. In her five decade career, Kathleen 'toiled' as various servile characters in nearly 80 films. As popular in England as similar 'working class' as character player Thelma Ritter was in America, Kathleen also enjoyed a slight shot of TV popularity late in her career, notably in the brief series Mrs Thursday (1966) as a cleaning lady who inherits her boss's vast fortune. Kathleen's last years were spent in a nursing home, living to the ripe old age of 103.103 and 10 months- Miriam Seegar was born on September 1, 1907, to Frank and Carrie (née Wall) Seegar, both teachers. Raised in Greentown, Indiana, in the Seegar-Sewell home on 404 S. Main Street, she was the fourth of five daughters. Her sisters, known around town as the Seegar Sisters, were educator Helen Seegar-Stone (1895-1976) stage actress and opera singer Dorothy Seegar-Hatch (1897-1999) Mildred Seegar (1905-1913) and actress Sara Seegar (1914-1990.)
Seegar viewed her first movies in Kokomo, Indiana at the age of eight. As the sisters started acting and singing, Frank Seegar left teaching to open a hardware store in efforts to support his daughters' growing singing and acting pursuits. After his death at Seegar's age of 14, her two older sisters invited her to spend summers with them in their bedbug-laden Upper West Side apartment in New York City. Helen, working in a theatrical producer's office and Dorothy, acting and singing on Broadway, sent Miriam to an agent, and she began appearing on stage in minor, uncredited roles. She would return to Greentown in the winter upon her mother's insistence to complete her schooling with her younger sister, Sara.
After finishing school, Seegar acted in her first Broadway production as a Spanish blonde in a now-forgotten play at the 48th Street Theatre, followed by five more stage stints. While playing the part of the ingenue in The Squall (1926-1927) prolific producer Albert H. Woods took notice, and offered Seegar to star with Ernest Truex in the London West End production of his hit show Crime (1928.) At the age of 18, Seegar accepted Woods' offer and moved to London, soon followed by her mother and sister Sara to live with her in the Park Lane Hotel: "All my life I had wanted to go to England. I was just beginning to get a start in New York, but I was glad to be transferred to England." Between Stage engagements with multiple productions in London, she acted in her first two films The Price of Divorce and The Valley of Ghosts (film), both released in 1928. Next Miriam was chosen to co-star with Nelson Keyes in When Knights Were Bold (1929 film), as her figure of just under 5'1 and 100lbs would make her shorter and smaller than Keyes. The film was being directed by American director Tim Whelan, whom Miriam had just met. After the film's release she and Whelan, 14 years her senior, moved to Hollwood in 1929 and started dating. She quickly went to work making three pictures in 1929, signing with Paramount for Fashions in Love and the love doctor then making Seven Keys to Baldpate for RKO. For the next three years, Seegar made 11 more films, most being B-movies.
Blonde haired, blue eyed Miriam was one of the tiniest women in pictures, standing at just under 5'1 tall and weighing 100lbs. From a 1930 Photoplay magazine: "The question of clothes is a problem to her. Everything must be specially made, since she has no desire to step out in twelve-year-old dimities from a department store. She sees a gown model she likes and has it duplicated in a more miniature form. She likes frocks of rich material, but made without fuss and furbelows." Miriam didn't consider her name good for screen purposes as she said people were inclined to accent the last syllable, as if it were "cigar." However, she refused to change it unlike some Hollywood actresses, even after being asked by Albert H. Woods while offering to send her to London for "Crime." Also from Photoplay in 1930: "Miriam has had no very serious love affairs, although she does admit that she has been in love. In fact, several times. The only trouble is that she falls out of love so easily. She says that she believes married men are far more interesting than the young eligibles, but she's an old-fashioned girl and does not care to be the "heavy" in a real life triangle drama.
Seegar married Tim Whelan in 1931, and the couple had two sons, Tim Junior and Michael(1935-1997,) born with down's syndrome. Miriam's last film, false faces, was made in 1932. It played the Times Square Paramount, where her first American picture had been premiered just three and a half years earlier. Seegar retired from acting to raise her first child, Tim Whelan Jr, and found her career at odds with her husband's: "The sort of roles I got latterly were not becoming for a woman whose husband was then a major force in motion pictures. Selznick and Cukor offered me work, but after a while I just said no."
In 1953, she received her ASID certification and began working as an interior decorator, first with Harriet Shellenberger and later on her own. She did not retire until 1995. Her husband died in 1957, and decades later, both sons died within a span of nine months. Tim Whelan, Jr. died from cancer in 1997, and son Michael, who was born with Down syndrome, died in 1998. In 2000, at the age of 93, Seegar appeared in the documentary I Used to Be in Pictures, which featured commentary from many of her contemporaries. Thereafter she made a series of guest appearances at film festivals which culminated in an award for her screen work from the Memphis Film Festival when she was 95. On her 102nd birthday she sailed from Southampton to New York on the RMS Queen Mary 2 and back again.
Miriam Seegar had two grandchildren and four great-grandchildren at the time of her death on January 2, 2011. No specific cause of death was given, but her daughter-in-law Harriet Whelan stated that Seegar was very frail and had died from "age-related causes".103 and 4 months - Actress
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Woefully misused while in her prime screen years at Paramount during the late '30s and '40s, Patricia Morison, lovely and exotic with Rapunzel-like long, dark hair, nevertheless became a star in her own right -- as a supremely talented diva on the singing stage.
Born on March 19, 1915, in New York City, her father, William Morison, was a playwright and occasional actor who billed himself under the name Norman Rainey. Patricia's mother worked for British Intelligence during WWI. Graduating from Washington Irving High School in New York, Patricia studied at the Art Students League and proceeded to take acting classes at the Neighborhood Playhouse while also studying dance with the renowned Martha Graham. She earned a steady check at the time as a dress shop designer.
At age 19 Patricia made her Broadway debut in the short-lived play "Growing Pains" and proceeded to understudy the legendary Helen Hayes in her classic role of "Victoria Regina". She never went on. In 1938, shortly after opening in the musical "The Two Bouquets" opposite musical star Alfred Drake, Paramount talent scouts, looking for exotic, dark-haired glamour types then to rein in their star commodity, Dorothy Lamour, scoped Patricia out and tested her. The blue-eyed beauty who indeed resembled Lamour was signed and made her film debut the following year, showing bright promise in the "B" film Persons in Hiding (1939).
Patricia's stock did not improve, however, despite such promise, and she was relegated to such second-string westerns as I'm from Missouri (1939), Rangers of Fortune (1940), Romance of the Rio Grande (1940), and The Round Up (1941). When things didn't improve with such stilted fare as Night in New Orleans (1942), Beyond the Blue Horizon (1942), and Are Husbands Necessary? (1942), she left Paramount. She freelanced in 'other woman' roles which included the Tracy/Hepburn vehicle Without Love (1945) and The Fallen Sparrow (1943), and played Empress Eugenie in The Song of Bernadette (1943), but the focus was seldom on her. Overlooked when cast in top leads at 'poverty row' programmers, her best chance at film stardom came as Victor Mature's despairing wife who takes her own life (which was to have been shown on screen) in Kiss of Death (1947), but her juicy role was excised from the film by producers (or, more likely, the Breen Commission) who felt audiences weren't ready for such shocking displays.
During the war years, Patricia had trained her voice and performed in USO tours. Cole Porter heard her sing in Hollywood one evening and decided she had the right tenacity, feistiness and vocal expertise to play the female lead in his new show. In 1948, over the objections of both the producer and director, stardom was clenched in the form of Porter's classic musical-within-a-musical "Kiss Me Kate." As the sweeping, vixenish Lilli Vanessi, a severe-looking stage diva whose own volatile personality coincided with that of her onstage role (Kate from "The Taming of the Shrew"), Patricia found THE role of her career, giving over 1,000 performances in all. Playing again alongside her former Broadway co-star Alfred Drake, Patricia basked in the multitude of glowing reviews, and such songs as "I Hate Men," "Wunderbar" and "So In Love" rightfully became signature songs. Following this triumph, film work never became a top priority again.
Patricia continued on successfully in the London version of "Kate" and went on to conquer other classic leads in the musicals "The King and I," "Kismet," "The Merry Widow," "Song of Norway" and Pal Joey," among others. Her last movie role was a cameo part as writer George Sand in the mildly received biopic Song Without End (1960) starring Dirk Bogarde as composer Franz Liszt.
On TV Patricia recreated her Kate role with Mr. Drake and made a few scattered but lively appearances over the years. One of her later guest shots was on a 1989 episode of "Cheers" and a 1991 episode of "Gabriel's Fire." In later years the never-married actress devoted herself to painting (an early passion) and enjoyed many showings in the Los Angeles area. The lovely lady with the trademark long hair died in L.A. at the age of 103, on May 20, 2018.103 and 2 months- Actor
- Producer
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Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name of his best-selling 1988 autobiography) to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born on December 9, 1916 in Amsterdam, New York. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. Professional wrestling helped pay for his studies as did working on the side as a waiter and a bellboy. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He made his Broadway debut in "Spring Again" before his career was interrupted by World War II. He joining the United States Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall, movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1947), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now."
After appearing in "I Walk Alone," Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli. In 1955, Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence, Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.
Douglas remained busy throughout the 1960s, starring in many films. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally in 1963, he starred in an onstage production of Ken Kesey's "One Flew Over the Cuckoo's Nest," but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson. Into the 1970s, Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).
Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded with the Presidential Medal of Freedom (1981), and with the Jefferson Award (1983). Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remained active and continued to appear in front of the camera. Until his passing on February 5 2020 at the age of 103, he and Olivia de Havilland were the last surviving major stars from the Golden Years of Hollywood.103 and 1 month- Actor
- Additional Crew
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The Spanish born ventriloquist Senor Wences was one of the highest paid vaudeville acts in the world. Hugely popular with American TV audiences Wences was also a top nightclub favorite.
Born Wenceslao Moreno in Peñaranda de Bracamonte, Salamanca (Spain), Wences began performing ventriloquism as a child An early career in bullfighting proved unsuccessful so he took up ventriloquism and juggling professionally. Wences toured Europe in the 1920s before coming to America in 1935 where he made his New York debut at the Club Chico.
He became an overnight sensation on "The Milton Berle Show" and later made appearances on "The Ed Sullivan Show" and TV specials with Jack Benny and Perry Como. In 1947 he had stand-out cameo in the film comedy Mother Wore Tights (1947), starring Dan Dailey and Betty Grable.
Among his famous vent characters were 'Johnny', ingeniously formed by one of Wences's hands and 'Pedro', a torso-less head in a box. In the middle of a routine Wences would lift the lid of the box and say "Are you alright?" to which Pedro would reply "S'alright". "S'alright" - which became a classic catchphrase.
In 1986 Wences toured America with Mickey Rooney and Ann Miller in the musical Sugar Babies. He also received the Lifetime Achievement Award from the National Comedy Hall of Fame which was inscribed "For his devotion to entertaining generations of audiences and bringing countless hours of joy and happiness to millions throughout the world."103- Actor
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Born in 1919 in Jerusalem, Nehemiah Persoff emigrated with his family to America in 1929.
Following schooling at the Hebrew Technical Institute of New York, he found a job as a subway electrician doing signal maintenance until an interest in the theater altered the direction of his life.
He joined amateur groups and subsequently won a scholarship to the Dramatic Workshop in New York. This led to what would have been his Broadway debut in a production of "Eve of St. Mark", but he was fired before the show opened. He made his official New York debut in a production of "The Emperor's New Clothes" in 1940.
WWII interrupted his young career in 1942, when he was inducted into the United Sates Army, returning to the stage after his hitch was over in 1945, three years later. He sought work in stock plays and became an intern of Stella Adler and, as a result, a strong exponent of the Actor's Studio. Discovered by Charles Laughton and cast in his production of "Galileo" in 1947, Persoff made his film debut a year later with an uncredited bit in The Naked City (1948).
Short, dark, chunky-framed and with a distinct talent for dialects, Persoff became known primarily for his ethnic villainy, usually playing authoritative Eastern Europeans.
In a formidable career which had him portraying everything from cab drivers to Joseph Stalin, standout film roles would include Leo in The Harder They Fall (1956) with Humphrey Bogart, Gene Conforti in Alfred Hitchcock's The Wrong Man (1956), Albert in This Angry Age (1958) and gangster Johnny Torrio in Al Capone (1959). That same year he played another gangster, the small role of Little Bonaparte, in Some Like It Hot (1959).
He was a durable performer during TV's "Golden Age" (Gunsmoke (1955), The Twilight Zone (1959)) and well beyond (Chicago Hope (1994), Law & Order (1990)), playing hundreds of intense, volatile and dominating characters.
In later years, his characters grew a bit softer as Barbra Streisand's Jewish father in Yentl (1983) and the voice of Papa Mousekewitz in the An American Tail (1986) will attest. Later stage work included well-received productions of "I'm Not Rappaport" and his biographical one-man show "Sholem Aleichem".
After declining health and high blood pressure forced him to slow down, Persoff took up painting in 1985, studying sketching in Los Angeles. Specializing in watercolor, he created more than 100 works of art, many of which have been exhibited up and down the coast of California. He celebrated his 100th birthday in 2019.102 and 8 months- Mae LaBorde was born on 13 May 1909 in Fresno, California, USA. She was an actress, known for Pineapple Express (2008), The Heartbreak Kid (2007) and It's Always Sunny in Philadelphia (2005). She was married to Nicholas Laborde. She died on 9 January 2012 in Santa Monica, California, USA.102 and 8 months
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Mean, miserly and miserable-looking, they didn't come packaged with a more annoying and irksome bow than Charles Lane. Glimpsing even a bent smile from this unending sourpuss was extremely rare, unless one perhaps caught him in a moment of insidious glee after carrying out one of his many nefarious schemes. Certainly not a man's man on film or TV by any stretch, Lane was a character's character. An omnipresent face in hundreds of movies and TV sitcoms, the scrawny, scowling, beady-eyed, beak-nosed killjoy who usually could be found peering disdainfully over a pair of specs, brought out many a comic moment simply by dampening the spirit of his nemesis. Whether a Grinch-like rent collector, IRS agent, judge, doctor, salesman, reporter, inspector or neighbor from hell, Lane made a comfortable acting niche for himself making life wretched for someone somewhere.
He was born Charles Gerstle Levison on January 26, 1905 in San Francisco and was actually one of the last survivors of that city's famous 1906 earthquake. He started out his working-class existence selling insurance but that soon changed. After dabbling here and there in various theatre shows, he was prodded by a friend, director Irving Pichel, to consider acting as a profession. In 1928 he joined the Pasadena Playhouse company, which, at the time, had built up a solid reputation for training stage actors for the cinema. While there he performed in scores of classical and contemporary plays. He made his film debut anonymously as a hotel clerk in Smart Money (1931) starring Edward G. Robinson and James Cagney and was one of the first to join the Screen Actor's Guild. He typically performed many of his early atmospheric roles without screen credit and at a cost of $35 per day, but he always managed to seize the moment with whatever brief bit he happened to be in. People always remembered that face and raspy drone of a voice. He appeared in so many pictures (in 1933 alone he made 23 films!), that he would occasionally go out and treat himself to a movie only to find himself on screen, forgetting completely that he had done a role in the film. By 1947 the popular character actor was making $750 a week.
Among his scores of cookie-cutter crank roles, Lane was in top form as the stage manager in Twentieth Century (1934); the Internal Revenue Service agent in You Can't Take It with You (1938); the newsman in Mr. Smith Goes to Washington (1939); the rent collector in It's a Wonderful Life (1946); the recurring role of Doc Jed Prouty, in the "Ellery Queen" film series of the 1940s, and as the draft board driver in No Time for Sergeants (1958). A minor mainstay for Frank Capra, the famed director utilized the actor's services for nine of his finest films, including a few of the aforementioned plus Mr. Deeds Goes to Town (1936), Arsenic and Old Lace (1944) and State of the Union (1948).
Lane's career was interrupted for a time serving in the Coast Guard during WWII. In post-war years, he found TV quite welcoming, settling there as well for well over four decades. Practically every week during the 1950s and 1960s, one could find him displaying somewhere his patented "slow burn" on a popular sitcom - Topper (1953), The Real McCoys (1957), The Many Loves of Dobie Gillis (1959), Mister Ed (1961), Bewitched (1964), Get Smart (1965), Gomer Pyle: USMC (1964), The Munsters (1964), Green Acres (1965), The Flying Nun (1967) and Maude (1972). He hassled the best sitcom stars of the day, notably Lucille Ball (an old friend from the RKO days with whom he worked multiple times), Andy Griffith and Danny Thomas. Recurring roles on Dennis the Menace (1959), The Beverly Hillbillies (1962) and Soap (1977) made him just as familiar to young and old alike. Tops on the list had to be his crusty railroad exec Homer Bedloe who periodically caused bucolic bedlam with his nefarious schemes to shut down the Hooterville Cannonball on Petticoat Junction (1963). He could also play it straightforward and serious as demonstrated by his work in The Twilight Zone (1959), Perry Mason (1957), Little House on the Prairie (1974) and L.A. Law (1986).
A benevolent gent in real life, Lane was seen less and less as time went by. One memorable role in his twilight years was as the rueful child pediatrician who chose to overlook the warning signs of child abuse in the excellent TV movie Sybil (1976). One of Lane's last on-screen roles was in the TV-movie remake of The Computer Wore Tennis Shoes (1995) at age 90. Just before his death he was working on a documentary on his long career entitled "You Know the Face".
Cinematically speaking, perhaps the good ones do die young, for the irascible Lane lived to be 102 years old. He died peacefully at his Brentwood, California home, outliving his wife of 71 years, former actress Ruth Covell, who died in 2002. A daughter, a son and a granddaughter all survived him.102 and 6 months- Actress
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Dolores Hope was born on 27 May 1909 in Harlem, Manhattan, New York City, New York, USA. She was an actress, known for Soup for Nuts (1934), There Were Times, Dear (1985) and The Christophers (1952). She was married to Bob Hope. She died on 19 September 2011 in Toluca Lake, Los Angeles, California, USA.102 and 4 months- Actor
- Soundtrack
Irving Benson was born on 31 January 1914 in Brooklyn, New York, USA. He was an actor, known for Scanty Panties (1961), The Milton Berle Show (1948) and Here's Lucy (1968). He was married to Lillian Benson. He died on 19 May 2016 in Port Jefferson, New York, USA.102 and 3 months- Producer
- Additional Crew
- Actress
Anne Douglas was born on 23 April 1919 in Hanover, Germany. She was a producer and actress, known for Peg Leg, Musket & Sabre (1973), Deep River (2009) and Kirk Douglas: Before I Forget (2009). She was married to Kirk Douglas and Albert Buydens. She died on 29 April 2021 in Beverly Hills, California, USA.102 years- Hutton Gibson was born on 26 August 1918 in Peekskill, New York, USA. He was married to Teddy Joye (Moore) Hicks and Anne Patricia Reilly. He died on 11 May 2020 in Thousand Oaks, California, USA.101 years 9 months
- Actress
- Soundtrack
From the day she was born Martha lived in a world of music. For sure her father was a banker but he was also an amateur pianist. As for her mother, she was a housewife but also a very talented opera singer who had given up her career for the joys of matrimony and motherhood. It does not come as a surprise, under such circumstances, that the little girl's singing capacities were soon discovered. At eight she was already on a scene singing an aria from "The Barber of Seville". A critic attended the show and was impressed by her performance. He introduced her to the director of the Magyar Theater, where she landed her first contract. As of the age of 10 she was hailed as Hungary's "national idol". And it was not long before her triumph became international. An operetta, "Pogasza", was written specially for the crystal-clear-voiced little singer. Among others, she played the role of the doll in "Tales of Hoffmann" and starred in "Das Veilchen vom Montmartre" by Kalman. With the advent of sound films, she found herself very much in demand in the 1930s, bringing her beautiful voice and looks to yet more delighted viewers. It is on the set of "Mein Herz ruft nach dir" that she met Jan Kiepura, another successful opera and operetta singer. Although it was not love at first sight, Jan and Martha gradually fell in love, married two years later, had two sons and were separated only by death with the demise of Jan in 1966. In 1938, the couple fled Austria after its annexation by Hitler and settled down in the South of France first then in the USA. Martha made fewer movies but kept on singing. For instance she co-starred in "The merry Widow" in Broadway for three years with Jan Kiepura. She became an American citizen in the fifties and currently lives in Rye, new York.101 and 8 months- Actress
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The multifaceted Ellen Albertini was a student of dance and piano at the age of five, and obtained a B.A. and M.A. in theater from Cornell University. She moved to New York, and studied and worked with the legendary likes of Hanya Holm, Martha Graham, Michael Shurtleff, Uta Hagen, Marcel Marceau, and Jacques Lecoq in Paris. She was an acting coach before she made her debut film appearance in American Drive-in (1985), and later became memorable as the rapping grandmother in The Wedding Singer (1998), "Disco Dottie" in 54 (1998) and the homophobic grandmother in Wedding Crashers (2005).101 and 6 months- Actress
- Soundtrack
When Estelle saw the girl on a white horse at the circus, she then decided that she wanted to be an actress. And she was from the age of 5, to the disapproval of her father. Her mother had her train with the Liverpool Repertory Company, and Estelle performed in many plays and many roles in the West End. In 1916, she made her debut on Broadway and worked with a number of acclaimed stage actors. Estelle spent the rest of the 'teens and '20s working in plays on both sides of the Atlantic. Being an actor in the theater, Estelle was not about to be one of those who acted in flicks and held out for a very long time. In fact, besides a small role in a few English films in the early 1930s, her real debut was Quality Street (1937), a picture that she undertook when she was in her 50s. Anyway, that was enough as it would be almost two decades before she would return to the big screen. She appeared on the stage in the plays "The Merry Wives of Windsor," "Ten Little Indians," and "The Importance of Being Earnest." But, in 1955, Estelle did return to the movies as Leslie Caron's "fairy godmother" in The Glass Slipper (1955). Estelle would spend the next 10 years appearing in films, often cast as eccentric, frail old ladies, some of whom could be deadly. Not to be left out, Estelle also would work on Television, doing guest spots in a number of shows. At 84, Estelle played a woman who was enamored by crooked Zero Mostel in the comedy The Producers (1967). Her last film would be the detective spoof Murder by Death (1976). When Estelle was asked, on the occasion of her 100th birthday, how she felt to have lived so long, she replied, "How rude of you to remind me!".101 and 5 months- Actress
- Writer
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Silent moppet star Jackie Coogan, immortalized as Charles Chaplin's The Kid (1921), had only one screen rival during the early 1920s, and that was none other than Baby Peggy. She was "discovered" while visiting the Century Studios lot on Sunset Boulevard with her mother when she was a mere 19 months old and went on to appear in nearly 150 shorts (between 1920 and 1923) and nine feature films during her silent heyday. Often considered a precursor to Shirley Temple, Baby Peggy's most popular film vehicle was the child classic Captain January (1924), which would be made a decade later as a vehicle for Temple.
She was born Peggy-Jean Montgomery in 1918 in San Diego, California, of acting stock. She was the daughter of Marian (Baxter), from Wisconsin, and Jack Montgomery, a Nebraska-born cowboy for years all over the western states. He ended up in the movies as a stuntman and extra, driving stagecoaches and buckboards. He supported himself as Tom Mix's double, but never achieved the rugged stardom he yearned for. In fact, his daughter was the one who became the celebrity and chief breadwinner for the family.
Many of Baby Peggy's popular comedies were parodies of movies that grown-up stars had made, and she delightfully imitated such legends as Rudolph Valentino, Pola Negri, Mary Pickford and Mae Murray. Her first feature-length film was Penrod (1922); her first film with Universal, The Darling of New York (1923), shot when she was 3-1/2 years old, was a solid hit. A few more, including Helen's Babies (1924), were also certifiable winners. However, by the age of 8, she was finished.
Her fortune reportedly was depleted by her father Jack's stepfather, a banker to whom she had entrusted all her money. Within a short time, she was forced to turn to the vaudeville circuit for survival. A comeback in early talkies with the new moniker Peggy Montgomery was very short-lived. Her credits, as a result, are often mixed up with another actress named Peggy Montgomery, who was a western ingénue for many years.
The former child star lived in dire straits and suffered from nervous breakdowns and near poverty for many years until she found a new and unexpectedly successful career as a book publisher and writer, using the pseudonym "Diana Serra Cary". As the author of "Hollywood Posse" (1975) and (later) "Hollywood's Children", she wrote about her youthful career, post-stardom years, child stars in general, and Hollywood history in all its fascinating glory. Her own autobiography, "Whatever Happened to Baby Peggy?", was released in 1996.
In 2016, Diana was inducted into the Classic Film Hall of Fame at the Rheem Theater in Moraga, CA. Diana was present, at age 98, to receive the honor and answer questions. She is considered to have been the last living star of the silent film era. Per Robert Garfinkle, a board member of the Niles Essanay Silent Film Museum in Fremont, CA, Diana now has the longest acting career of all time, from 1920 to 2015. Her last film was a silent film she made at the above-referenced museum. The film was actually made using one of their antique hand-cranked cameras!
Baby Peggy died on February 24, 2020 in Gustine, California. She was 101.101 and 4 months- Music Department
- Composer
- Writer
Irving Berlin was born Israel Isidor Baline on May 11, 1888 in Mogilev, Belarus, Russian Empire. Towering composer, songwriter, ("God Bless America", "Always", "Blue Skies", "White Christmas") author and publisher, he came to the United States at age 5 and was educated in New York's public schools. His earliest musical education was from his father, a cantor. He earned Honorary degrees from Bucknell University and Temple University. Beginning his career as a song-plugger for publisher Harry von Tilzer, Berlin worked as a singing waiter in Chinatown. In 1909, he was hired as a staff lyricist by the Ted Snyder Company, and became a partner to that firm four years later.
In 1910, he began doing vaudeville appearances in the United States and abroad, and also appeared with Snyder in the Broadway musical "Up and Down Broadway", that ran for 72 performances. He joined ASCAP as a charter member in 1914, and served on its first board of directors between 1914-1918. Berlin enlisted the United States Army infantry in World War I, and was a sergeant at Camp Upton, New York. After the war, he established his own public-relations firm, and in 1921, he built the 1025-seat Music Box Theatre (at 239 W. 45th Street, New York) with Sam H. Harris. After Harris' death in 1941, Berlin assumed full ownership and the theatre remains a Broadway institution to this day.
Among his many awards was the Medal for Merit for his 1942 all-soldier show "This Is the Army", which toured the United States, Europe and South Pacific battle zones; all proceeds were assigned to Army Emergency Relief and other service agencies. Berlin was also a member of the French Legion of Honor and held the Congressional Medal of Honor for "God Bless America", the proceeds from which went to the God Bless America Fund. His songs were sung by Fred Astaire, Al Jolson, Judy Garland, Bing Crosby, Dick Powell, Alice Faye and many others. Irving Berlin died at the age of 101 of natural causes on September 22, 1989 in New York City.101 and 4 months- Sam Beazley was born on 29 March 1916 in Kensington, London, England, UK. He was an actor, known for Johnny English (2003), Harry Potter and the Order of the Phoenix (2007) and Bridget Jones: The Edge of Reason (2004). He died on 12 June 2017 in London, England, UK.101 and 2 months
- Nina Andrycz was born on 11 November 1912 in Brzesc, Poland, Russian Empire [now Brest, Belarus]. She was an actress, known for Uczta Baltazara (1954), Horror w Wesolych Bagniskach (1995) and And a Warm Heart (2008). She was married to Józef Cyrankiewicz. She died on 31 January 2014 in Warsaw, Mazowieckie, Poland.101 and 2 months
- Ivy Bethune was born on 1 June 1918 in Sevastopol, Russia [now Crimea, Ukraine]. She was an actress, known for Back to the Future (1985), Get Smart (2008) and Will to Die (1971). She was married to Stuart Lancaster and William Charles Bethune. She died on 19 July 2019 in Woodland Hills, California, USA.101 years, 1 month
- Producer
- Director
- Actress
Leni Riefenstahl's show-biz experience began with an experiment: she wanted to know what it felt like to dance on the stage. Success as a dancer gave way to film acting when she attracted the attention of film director Arnold Fanck, subsequently starring in some of his mountaineering pictures. With Fanck as her mentor, Riefenstahl began directing films.
Her penchant for artistic work earned her acclaim and awards for her films across Europe. It was her work on Triumph of the Will (1935), a documentary commissioned by the Nazi government about Adolf Hitler and the Third Reich, that would come back to haunt her after the atrocities of World War II. Despite her protests to the contrary, Riefenstahl was considered an intricate part of the Third Reich's propaganda machine. Condemned by the international community, she did not make another movie for over 50 years.101 and 1 month- Gwen Ffrangcon Davies was born on 25 January 1891 in Hampstead, London, England, UK. She was an actress, known for The Case-Book of Sherlock Holmes (1991), Nine Days a Queen (1936) and Paul Krüger (1956). She died on 27 January 1992 in Stambourne, Essex, England, UK.101
- Actress
- Soundtrack
Paulette Dubost was born on 8 October 1910 in Paris, France. She was an actress, known for The Rules of the Game (1939), Les mystères de Paris (1962) and Les vingt-huit jours de Clairette (1933). She was married to André Ostertag. She died on 21 September 2011 in Longjumeau, Essonne, France.100 and 11 months- Producer
- Writer
- Production Manager
Norman Lear enjoyed a long career in television and film, political and social activism, and philanthropy.
Born in 1922 in New Haven, Connecticut, Lear flew 52 combat missions over Europe in World War II before beginning his television career. His classic shows of the 1970s and '80s - All in the Family, Maude, Good Times, The Jeffersons, Sanford and Son and Mary Hartman, Mary Hartman, among others - collectively reached as many as 120 million viewers per week and are said to have transformed the American cultural landscape, bringing the social and political issues of the day into American living rooms for the first time. With the rise of the radical religious right, Lear put his career on hold in 1980 to found People For the American Way, the nonprofit organization that remains a relevant and effective force defending all aspects of the First Amendment.
Lear was among the first seven television pioneers inducted in 1984 into the Television Academy Hall of Fame. In 1999, President Clinton presented him with the National Medal of Arts, noting that "Norman Lear has held up a mirror to American society and changed the way we look at it." His memoir, Even This I Get to Experience, was published in 2014, and the 2016 documentary Norman Lear: Just Another Version of You received an Emmy nomination as the representative program for the PBS American Masters series. In 2017, Lear received a Peabody Lifetime Achievement Award and was a Kennedy Center Honoree.
He was the father of six, the grandfather of four, and the husband of Lyn Davis Lear.100 and 10 months and counting- Producer
- Writer
- Additional Crew
Hal Roach was born in 1892 in Elmira, New York. After working as a mule skinner, wrangler and gold prospector, among other things, he wound up in Hollywood and began picking up jobs as an extra in comedies, where he met comedian Harold Lloyd in 1913 in San Diego. By all accounts, including his own, he was a terrible actor, but he saw a future in the movie business and in Harold Lloyd. Roach came into a small inheritance and began producing, directing and writing a series of short film comedies, under the banner of Phun Philms (soon changed to Rolin, which lasted until 1922), starring Lloyd in early 1915. Initially these were abysmal, but with tremendous effort, the quality improved enough to be nominally financed and distributed by Pathe, which purchased Roach's product by the exposed foot of film. The Roach/Lloyd team morphed through two characters. The first, nominally tagged as "Will E. Work", proved hopeless; the second, "Lonesome Luke," an unabashed imitation of Charles Chaplin, proved more successful with each new release. Lloyd's increasing dissatisfaction with the Chaplin clone character irritated Roach to no end, and the two men engaged in a series of battles, walkouts and reconciliations. Ultimately Lloyd abandoned the character completely in 1917, creating his now-famous "Glasses" character, which met with even greater box-office success, much to the relief of Roach and Pathe. This new character hit a nerve with the post-war public as both the antithesis and complement to Chaplin, capturing the can-do optimism of the age. This enabled Roach to renegotiate the deal with Pathe and start his own production company, putting his little studio on a firm financial foundation. Hal Roach Productions became a unique entity in Hollywood. It operated as a sort of paternalistic boutique studio, releasing a surprising number of wildly popular shorts series and a handful of features. Quality was seldom compromised and his employees were treated as his most valuable asset.
Roach's relationship with his biggest earner was increasingly acrimonious after 1920 (among other things, Lloyd would bristle at Roach's demands to appear at the studio daily regardless of his production schedule). After achieving enormous success with features (interestingly, his only real feature flop of the 1930s was with General Spanky (1936), a very poorly conceived vehicle for the property), Lloyd had achieved superstar status by the standards of "The Roaring Twenties" and wanted his independence. The two men severed ties, with Roach retaining re-issue rights for Lloyd's shorts for the remainder of the decade. While both men built their careers together, it was Lloyd who first recognized his need for creative freedom, no longer needing Roach's financial support. This realization irked Roach, and from this point forward he found it difficult, if not impossible, to offer unadulterated praise for his former friend and star (while Lloyd himself was far more generous in his later praise of Roach, he, too, could be critical, if more accurate, in his recollections). Lloyd went on to much greater financial success at Paramount.
Despite facing the prospect of losing his biggest earner, Roach was already preoccupied with building his kiddie comedy series, Our Gang, which became an immediate hit with the public. By the time he turned 25 in 1917, Roach was wealthy and increasingly spending time away from his studio. He traveled extensively across Europe. By the early 1920s he had eclipsed Mack Sennett as the "King of Comedy" and created many of the most memorable comic series of all time. These included the team of Stan Laurel and Oliver Hardy, Charley Chase, Edgar Kennedy, 'Snub' Pollard and especially the long-running Our Gang series (AKA "The Little Rascals" in TV distribution). Pathe, which distributed his films, shut down its U.S. operations after its domestic representative, Paul Brunet, returned to France in 1927. But Roach was able to secure an even better deal with MGM (his key competitor, Mack Sennett, was also distributed by Pathe, but he was unable to land a deal, ultimately declaring bankruptcy in 1933). For the next eleven years Roach shored up MGM's bottom line, although the deal was probably more beneficial to Roach. In the mid-'30s Roach became inexplicably enamored of 'Benito Mussolini', and sought to secure a business alliance with the fascist dictator's recently completed film complex, Cinecitta. After Roach asked for (and received) assurances from Mussolini that Italy wasn't about to seek sanctions against the Jews, the two men formed RAM ("Roach And Mussolini") Productions, a move that appalled the powers at MGM parent company, Leow's Inc. These events coincided with Roach selling off "Our Gang" to MGM and committing himself solely to feature film production. In September 1937, Il Duce's son, Vittorio Mussolini, visited Hollywood and Roach's studio threw a lavish party celebrating his 21st birthday. Soon afterward the Italian government took on an increasingly anti-Semitic stance and, in retribution, Leow's chairman Nicholas Schenck canceled his distribution deal. Roach signed an adequate deal with United Artists in May 1938 and redeemed his previous record of feature misfires with a string of big hits: Topper (1937) (and its lesser sequels), the prestigious Of Mice and Men (1939) and, most significantly, One Million B.C. (1940), which became the most profitable movie of the year. Despite the nearly unanimous condemnation by his industry peers, Roach stubbornly refused to re-examine his attitudes over his dealings with Mussolini, even in the aftermath of World War II (he proudly displayed an autographed portrait of the dictator in his home up until his death). His tried-and-true formula for success was tested by audience demands for longer feature-length productions, and by the early 1940s he was forced to try his hand at making low-budget, full-length screwball comedies, musicals and dramas, although he still kept turning out extended two-reel-plus comedies, which he tagged as "streamliners"; they failed to catch on with post-war audiences. By the 1950s he was producing mainly for television (My Little Margie (1952), Blondie (1957) and The Gale Storm Show: Oh! Susanna (1956), for example). His willingness to delve into TV production flew in the face of most of the major Hollywood studios of the day. He made a stab at retirement but his son, Hal Roach Jr., proved an inept businessman and drove the studio to the brink of bankruptcy by 1959. Roach returned and focused on facilities leasing and managing the TV rights of his film catalog.
In 1983 his company developed the first successful digital colorization process. Roach then became a producer for many TV series on the Disney Channel, and his company still produces most of their films and videos. He died peacefully just shy of his 101st birthday, telling stories right up until the end.100 and 10 months- Art Director
- Production Designer
- Art Department
Robert F. Boyle was born on 10 October 1909 in Los Angeles, California, USA. He was an art director and production designer, known for North by Northwest (1959), Fiddler on the Roof (1971) and The Shootist (1976). He was married to Bess Boyle. He died on 1 August 2010 in Los Angeles, California, USA.100 and 10 months- Herman Brix was a star shot-putter in the 1928 Olympics. After losing the lead in MGM's Tarzan the Ape Man (1932) due to a shoulder injury, he was contracted by Ashton Dearholt for his independent production of The New Adventures of Tarzan (1935), a serial and the only Tarzan film between the silents and the 1960s to present the character accurately, as a sophisticated, educated English nobleman who preferred living in the jungle and was able to speak directly with animals in their own language. He subsequently found himself typecast and confined to starring roles in other serials and character and even bit parts in poverty row features and two-reeler comedies. After starring in the Republic Pictures serial Hawk of the Wilderness (1938) as the Tarzan-like Kioga, he dropped out of films for a few years, took acting lessons, and changed his name to Bruce Bennett. He made many movies after that, gaining fame as a leading man in many Warners products. In 1960, he retired from acting and went into business, becoming sales manager of a major vending machine company, making only occasional TV guest appearances. A reclusive man, he eschewed interviews, although he did appear at one Burroughs-oriented convention in the 1970s and discussed some of his experiences during the making of his Tarzan serial. In 2001, he allowed himself to be interviewed for a slender biography by a Mike Chapman, and held signings at local bookstores, enjoying his "rediscovery" by the general public in the few years remaining before his death.100 and 9 months
- Born in Oklahoma City, Oklahoma, Louise Currie attended Sarah Lawrence College in Bronxville, New York, became interested in acting and began taking courses at Max Reinhardt's drama school in Hollywood. Talent scouts spotted the aspiring actress in the acting workshop's stage productions and pressed her to make the rounds of the Hollywood studios, but Currie remained adamant about staying out of the limelight until she felt she was ready. After graduation, she found an agent (Sue Carol, wife of actor Alan Ladd) and began working in pictures, generally at smaller studios like Monogram and PRC. She appeared in Columbia two-reelers, many B-Westerns and two of Republic's "Golden Age" serials (Adventures of Captain Marvel (1941) and The Masked Marvel (1943)) before leaving the picture profession in the early '50s. With her husband, former actor John Good, she went into a new business: Good (an architectural designer) remodeled houses and Currie decorated them.100 and 5 months
- Margery Mason was born on 27 September 1913 in Hackney, London, England, UK. She was an actress, known for The Princess Bride (1987), Love Actually (2003) and Les Misérables (1998). She was married to Peter Daminoff. She died on 26 January 2014 in Swiss Cottage, Camden, London, England, UK.100 years and 4 months
- Actress
- Soundtrack
Gloria Stuart was born on a dining room table on 4th Street in Santa Monica, California on July 4, 1910. Her early roles as a performing artist were in plays she produced in her home as a young girl. She was the star of her senior class play at Santa Monica High School in 1927. Attending the University of California, at Berkeley, she continued to perform on the stage. Stuart married and move to Carmel, where she performed in a production of "The Seagull" which was transferred to the Pasadena Playhouse in 1932. It was there that talent scouts for both Paramount and Universal saw her. In a famous dispute, the heads of the two studios flipped a coin and Universal won. She played lead roles for director James Whale, including (The Old Dark House (1932), The Invisible Man (1933) and The Kiss Before the Mirror (1933)). The hard work at the studio estranged her from her first husband (Stuart helped create the Screen Actors Guild). She played the leading lady in Roman Scandals (1933), on the set of which she met her husband Arthur Sheekman. She was dissatisfied with the roles in which she was cast at Universal and played roles in films for other studios. Ultimately, a few years after having her daughter Sylvia (named after the role she was playing when she met Sheekman), she left the cinema and sought roles on the stage in New York. In the 1940s, she opened an art furniture shop where she created decoupage lamps, tables and trays, many of which sold to stars like Judy Garland and others. Later, Stuart took up oil painting and was very prolific, showing and selling her work in New York, Los Angeles and elsewhere. Her landscapes of The Watts Towers are on permanent collection at The Los Angeles County Museum. She also took up and mastered the art of bonsai and some of her trees are on permanent collection in the Huntington Library Japanese Garden. When her husband fell ill in the 1970s (he died in 1978), she returned to acting doing a range of television series. In 1982, she returned to the screen appearing in a brief dance scene with Peter O'Toole in My Favorite Year (1982).
About this time a friend, she knew half a century earlier in Carmel, who was a master printer, re-entered her life and from him, Stuart learned the craft of fine printing. She established a printing press in her home studio called Imprenta Glorias. where she created a body of fine artist's books. Her greatest book, "Flight of Butterfly Kites" is in permanent collection at the J. Paul Getty Museum. Gloria Stuart won a Screen Actors Guild Award and an Oscar-nomination for her performance as the Old Rose in Titanic (1997). In July 2010, The Academy of Motion Picture Arts & Sciences honored Gloria Stuart with a Centennial Celebration. She was the first such honoree to be living for a centennial. At 100 years of age, she had completed her greatest artist's book with her great-granddaughter working as her apprentice and also her final appearance on film in her grandson's documentary about her, entitled Secret Life of Old Rose: The Art of Gloria Stuart (2012) when she died at home at the age of 100 on September 26, 2010.100 and 2 months- Lotte Koch was born on 9 March 1913 in Brussels, Belgium. She was an actress, known for The Heart of a Queen (1940), Export in Blond (1950) and Morituri (1948). She was married to Ernst von Klipstein and Dieter von Klipstein. She died on 26 May 2013 in Munich, Unterhaching, Bavaria, Germany.100 and 2 months
- Actor
- Producer
- Writer
Comedian Bob Hope was born Leslie Townes Hope in Eltham, London, England, the fifth of seven sons of Avis (Townes), light opera singer, and William Henry Hope, a stonemason from Weston-super-Mare, Somerset. His maternal grandmother was Welsh. Hope moved to Bristol before emigrating with his parents to the USA in 1908. After some years onstage as a dancer and comedian, he made his first film appearance in The Big Broadcast of 1938 (1938) singing "Thanks for the Memory", which became his signature tune.
In partnership with Bing Crosby and Dorothy Lamour, he appeared in the highly successful "Road to ..." comedies (1940-52), and in many others until the early 1970s. During World War II and the Korean and Vietnam wars he spent much time entertaining the troops in the field. For these activities and for his continued contributions to the industry he received five honorary Academy Awards.100 and 2 months- Earl Schuman was born on 24 February 1916 in Pawhuska, Oklahoma, USA. He was an actor, known for Taxi (2004), Mr. Deeds (2002) and Dodgeball: A True Underdog Story (2004). He was married to Edith (Edie) Bartnof and Beulah. He died on 24 March 2016 in Santa Clarita, California, USA.100 years and 1 month
- Actor
- Producer
- Writer
George Burns was an American actor, comedian, singer, and published author. He formed a comedy duo with his wife Gracie Allen (1895-1964), and typically played the straight man to her zany roles. Following her death, Burns started appearing as a solo performer. He once won an Academy Award for Best Supporting Actor, and continued performing until his 90s. He lived to be a centenarian, was viewed as an "elder statesman" in the field of comedy.
Burns was born under the name "Nathan Birnbaum" in 1896, and was nicknamed "Nattie" by his family. His father was Eliezer "Louis" Birnbaum (1855-1903), a coat presser who also served a substitute cantor at a local synagogue in New York City. His mother was Hadassah "Dorah" Bluth (1857-1927), a homemaker. Both parents were Jewish immigrants, originally from the small town of Kolbuszowa in Austrian Galicia (currently part of Poland). Kolbuszowa had a large Jewish population until World War II, when the German occupation forces in Poland relocated the local Jews to a ghetto in Rzeszów.
The Birnbaums were a large family, and Burns had 11 siblings. He was the 9th eldest of the Birnbaum Children. In 1903, Louis Birnbaum caught influenza and died, during an ongoing influenza epidemic. Orphaned when 7-years-old, Burns had to work to financially support his family. He variously shined shoes, run errands, selling newspapers, and worked as a syrup maker in a local candy shop.
Burns liked to sing while working, and practiced singing harmony with three co-workers of similar age. They were discovered by letter carrier Lou Farley, who gave them the idea to perform singing in exchange for payment. The four children soon started performing as the "Pee-Wee Quartet", singing in brothels, ferryboats, saloons, and street corners. They put their hats down for donations from their audience, though their audience was not always generous. In Burns' words: "Sometimes the customers threw something in the hats. Sometimes they took something out of the hats. Sometimes they took the hats."
Burns started smoking cigars c. 1910, when 14-years-old. It became a lifelong habit for him. Burns' performing career was briefly interrupted in 1917, when he was drafted for service in World I. He eventually failed his physical exams, due to his poor eyesight.
By the early 1920s, he adopted the stage name "George Burns", though he told several different stories of why he chose the name. He supposedly named himself after then-famous baseball player George Henry Burns (1897-1978), or the also famous baseball player George Joseph Burns (1889-1966). In another version, he named himself after his brother Izzy "George" Birnbaum, and took the last name "Burns" in honor of Burns Brothers Coal Company.
Burns performed dance routines with various female partners, until he eventually married his most recent partner Gracie Allen in 1926. Burns made his film debut in the comedy short film "Lambchops" (1929), which was distributed by Vitaphone. The film simply recorded one of Burns and Allen's comedy routines from vaudeville.
Burns made his feature film debut in a supporting role of the musical comedy "The Big Broadcast" (1932). He appeared regularly in films throughout the 1930s, with his last film role for several years appearing in the musical film "Honolulu" (1939). Burns was reportedly considered for leading role in "Road to Singapore" (1940), but the studio replaced him with Bob Hope (1903-2003).
Burns and Allen started appearing as comic relief for a radio show featuring bandleader Guy Lombardo (1902-1977). By February 1932, they received their own sketch comedy radio show. The couple portrayed younger singles, until the show was retooled in 1941 and started featuring them as a married couple. By the fall of 1941, the show had evolved into a situational comedy about married life. Burns and Allen's supporting cast included notable voice actors Mel Blanc, Bea Benaderet, and Hal March.
The radio show finally ended in 1949, reworked into the popular television show "The George Burns and Gracie Allen Show" (1950-1958). Allen would typically play the "illogical" housewife, while Burns played the straight man and broke the fourth wall to speak to the audience. The couple formed the production company McCadden Corporation to help produce the show.
Allen developed heart problems during the 1950s, and by the late 1950s was unable to put up the energy needed for the show. She fully retired in 1958. The show was briefly retooled to "The George Burns Show" (1958-1959), but Burns comedic style was not as popular as that of his wife. The new show was canceled due to low ratings.
Following Allen's death in 1964, Burns attempted a television comeback by creating the sitcom "Wendy and Me" (1964-1965) about the life of a younger married couple. The lead roles were reserved for Ron Harper and Connie Stevens, while Burns had a supporting role as their landlord. He also performed as the show's narrator.
As a television producer, Burns produced the military comedy "No Time for Sergeants", and the sitcom "Mona McCluskey". As an actor, he mostly appeared in theaters and nightclubs. Burns had a career comeback with the comedy film "The Sunshine Boys" (1975), his first film appearance since World War II. He played faded vaudevillian Al Lewis, who has a difficult relationship with his former partner Willy Clark (played by Walter Matthau). The role was met with critical success, and Burns won the Academy Award for Best Supporting Actor. At age 80, Burns was the oldest Oscar winner at the time. His record was broken by Jessica Tandy in 1989.
Burns had his greatest film success playing God in the comedy film "Oh, God!" (1977). The film 51 million dollars at the domestic box office, and was one of the greatest hits of 1977. Burns returned to the role in the sequels "Oh, God! Book II" (1980) and "Oh, God! You Devil" (1984). He had a double role as both God and the Devil in the last film.
Burns had several other film roles until the 1990s. His most notable films in this period were the musical comedy "Sgt. Pepper's Lonely Hearts Club Band" (1978), the comedy film "Just You and Me, Kid" (1979), the caper film "Going in Style" (1979), and the fantasy-comedy "18 Again!" (1988). The last of the four featured him as a grandfather who exchanges souls with his grandson.
Burns' last film role was a bit part in the mystery film "Radioland Murders" (1994), which was a box office flop. In July 1994, Burns fell in his bathtub and underwent surgery to remove fluid in his skull. He survived, but his health never fully recovered. He was forced to retire from acting and stand-up comedy.
On January 20, 1996, Burns celebrated his 100th birthday, but was in poor health and had to cancel a pre-arranged comeback performance. In March 1996, he suffered from cardiac arrest and died. He was buried in Forest Lawn Memorial Park Cemetery, Glendale, next to Gracie Allen.100 and 1 month- Writer
- Director
- Art Director
Kaneto Shindô was born on 22 April 1912 in Hiroshima, Japan. He was a writer and director, known for Postcard (2010), The Island (1960) and A Last Note (1995). He was married to Nobuko Otowa and Miyo Shindo. He died on 29 May 2012 in Hiroshima, Japan.100 and 1 month- Editor
- Producer
- Director
Elmo Williams was born James Elmo Williams in Lone Wolf, Oklahoma. Orphaned at 16, he attended schools in Oklahoma and New Mexico before moving to Los Angeles. In 1933 he struck up a relationship with film editor Merrill G. White, who hired Williams as his assistant on a business trip to England. He learned the basics of film editing from White and soon gained a reputation as a first-rate editor, doing much work at RKO. In 1947 Williams edited the documentary Design for Death (1947), which earned an Oscar as Best Documentary, and in 1952 he received an Oscar for his editing of the western classic High Noon (1952). He soon branched out into directing, turning out several low-budget efforts for Lippert Pictures and Republic Pictures. Williams journeyed to Europe in 1958 to work as editor and second-unit director on The Vikings (1958) and wound up staying there for several years when he was hired to produce and direct the TV series Tales of the Vikings (1959).
Upon his return to the US, Williams was hired by 20th Century-Fox as a second-unit director. In that capacity, and as associate producer, he was sent back to Europe to work on the WW II epic The Longest Day (1962), helping to stage the film's spectacular battle scenes. He had another extended stay in Europe when he was given the job of Managing Director of European Production for Fox, a position he held until 1966, when he returned to the US to work on another World War II epic, Tora! Tora! Tora! (1970). In 1970 Williams was appointed Vice President in charge of Worldwide Production at Fox, a job he left in 1973 to go into independent production.102 and 7 months- Actress
- Additional Crew
- Soundtrack
One of the great dancer and choreographers in both movies and stage, Marge Champion was best known as the former wife of Gower Champion, when they worked together as a highly successfully dancing team in the MGM musical years. After retiring from movies, Champion worked as a dance teacher and as a choreographer in New York.101 and 1 month- Actress
- Soundtrack
Glynis Johns was the daughter of actor Mervyn Johns. Best known for her light comedy roles and often playful flirtation, Glynis was born in South Africa while her parents were on tour there (her mother was a concert pianist) but was always proud of her Welsh roots and took delight in playing the female lead (opposite Richard Burton) in the classic Under Milk Wood (1971). She was probably best known for her role as the suffragette mother in Mary Poppins (1964) although she is probably best loved for her fishy roles in Miranda (1948) and Mad About Men (1954). She had earlier showed she could take on the serious roles as well as in Frieda (1947). Most recently seen (at the time of writing) in Superstar (1999). Johns died in 2024, aged 100, having never received the damehood she had richly deserved for decades. Predeceased by her only son, she was survived by a grandson,Thomas Forwood, and three great-grandchildren.100 and counting