MGM Musical Stars
Stars of MGM's famed movie musicals of the 30s-50s.
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Eugene Curran Kelly was born in Pittsburgh, Pennsylvania, the third son of Harriet Catherine (Curran) and James Patrick Joseph Kelly, a phonograph salesman. His father was of Irish descent and his mother was of Irish and German ancestry.
Metro-Goldwyn-Mayer was the largest and most powerful studio in Hollywood when Gene Kelly arrived in town in 1941. He came direct from the hit 1940 original Broadway production of "Pal Joey" and planned to return to the Broadway stage after making the one film required by his contract. His first picture for Metro-Goldwyn-Mayer was For Me and My Gal (1942) with Judy Garland. What kept Kelly in Hollywood were "the kindred creative spirits" he found behind the scenes at Metro-Goldwyn-Mayer. The talent pool was especially large during World War II, when Hollywood was a refuge for many musicians and others in the performing arts of Europe who were forced to flee the Nazis. After the war, a new generation was coming of age. Those who saw An American in Paris (1951) would try to make real life as romantic as the reel life they saw portrayed in that musical, and the first time they saw Paris, they were seeing again in memory the seventeen-minute ballet sequence set to the title song written by George Gershwin and choreographed by Kelly. The sequence cost a half million dollars (U.S.) to make in 1951 dollars. Another Kelly musical of the era, Singin' in the Rain (1952), was one of the first 25 films selected by the Library of Congress for its National Film Registry. Kelly was in the same league as Fred Astaire, but instead of a top hat and tails Kelly wore work clothes that went with his masculine, athletic dance style.
Gene Kelly died at age 83 of complications from two strokes on February 2, 1996 in Beverly Hills, Los Angeles, California.- Actress
- Producer
- Writer
Debbie Reynolds was born Mary Frances Reynolds in El Paso, Texas, the second child of Maxine N. (Harmon) and Raymond Francis Reynolds, a carpenter for the Southern Pacific Railroad. Her film career began at MGM after she won a beauty contest at age 16 impersonating Betty Hutton. Reynolds wasn't a dancer until she was selected to be Gene Kelly's partner in Singin' in the Rain (1952). Not yet twenty, she was a quick study. Twelve years later, it seemed like she had been around forever. Most of her early film work was in MGM musicals, as perky, wholesome young women. She continued to use her dancing skills with stage work.
She was 31 when she gave an Academy Award-nominated performance in The Unsinkable Molly Brown (1964). She survived losing first husband Eddie Fisher to Elizabeth Taylor following the tragic death of Mike Todd. Her second husband, shoe magnate Harry Karl, gambled away his fortune as well as hers. With her children as well as Karl's, she had to keep working and turned to the stage. She had her own casino in Las Vegas with a home for her collection of Hollywood memorabilia until its closure in 1997. She took the time to personally write a long letter that is on display in the Judy Garland museum in Grand Rapids, Minnesota and to provide that museum with replicas of Garland's costumes. The originals are in her newly-opened museum in Hollywood.
Nearly all the money she makes is spent toward her goal of creating a Hollywood museum. Her collection numbers more than 3000 costumes and 46,000 square-feet worth of props and equipment.
With musician/actor Eddie Fisher, she was the mother of filmmaker Todd Fisher and actress Carrie Fisher. Debbie died of a stroke on December 28, 2016, one day after the death of her daughter Carrie. She was survived by her son and granddaughter, up-and-coming actress Billie Lourd.- Actor
- Director
- Producer
Born into a vaudeville family, O'Connor was the youthful figure cutting a rug in several Universal musicals of the 1940s. His best-known musical work is probably Singin' in the Rain (1952), in which he did an impressive dance that culminated in a series of backflips off the wall. O'Connor was also effective in comedic lead roles, particularly as the companion to Francis the Talking Mule in that film series.- Actor
- Additional Crew
- Producer
Fred Astaire was born in Omaha, Nebraska, to Johanna (Geilus) and Fritz Austerlitz, a brewer. Fred entered show business at age 5. He was successful both in vaudeville and on Broadway in partnership with his sister, Adele Astaire. After Adele retired to marry in 1932, Astaire headed to Hollywood. Signed to RKO, he was loaned to MGM to appear in Dancing Lady (1933) before starting work on RKO's Flying Down to Rio (1933). In the latter film, he began his highly successful partnership with Ginger Rogers, with whom he danced in 9 RKO pictures. During these years, he was also active in recording and radio. On film, Astaire later appeared opposite a number of partners through various studios. After a temporary retirement in 1945-7, during which he opened Fred Astaire Dance Studios, Astaire returned to film to star in more musicals through 1957. He subsequently performed a number of straight dramatic roles in film and TV.- Actress
- Soundtrack
Lena Calhoun Horne was born June 30, 1917, in Brooklyn, New York. In her biography she stated that, on the day she was born, her father was in the midst of a card game trying to get money to pay the hospital costs. Her parents divorced while she was still a toddler. Her mother left later in order to find work as an actress and Lena was left in the care of her grandparents. When she was seven, her mother returned and the two traveled around the state which meant that Lena was enrolled in numerous schools. For a time she also attended schools in Florida, Georgia and Ohio. Later she returned to Brooklyn.
Lena quit school when she was 14 and got her first stage job at 16 dancing and later singing at the famed Cotton Club in Harlem, a renowned theater in which black performers played before white audiences immortalized in The Cotton Club (1984)). She was in good hands at the club, especially when people such as Cab Calloway and Duke Ellington took her under their wings and helped her over the rough spots. Before long, her talent resulted in her playing before packed houses.
If Lena had never made a movie, her music career would have been enough to have ensured her legendary status in the entertainment industry, but films were icing on the cake. After she made an appearance on Broadway, Hollywood came calling. At 21 years of age, Lena made her first film, The Duke Is Tops (1938). It would be four more years before she appeared in another, Panama Hattie (1942), playing a singer in a nightclub. By now Lena had signed with MGM but, unfortunately for her, the pictures were shot so that her scenes could be cut out when they were shown in the South since most theaters in the South refused to show films that portrayed blacks in anything other than subservient roles to whites. Most movie studios did not want to take a chance on losing that particular source of revenue. Lena did not want to appear in those kinds of stereotyped roles and who could blame her?
In 1943, MGM loaned Lena to 20th Century-Fox to play the role of Selina Rogers in the all-black musical Stormy Weather (1943), which did extremely well at the box office. Her rendition of the title song became a major hit on the musical charts. In 1943, she appeared in Cabin in the Sky (1943), regarded by many as one of the finest performances of her career. She played Georgia Brown opposite Ethel Waters and Eddie 'Rochester' Anderson in the all black production. Rumors were rampant that she and Waters just did not get along well, although there was never any mention of the source of the alleged friction. However, that was not the only feud on that picture. Other cast members sniped at one another and it was a wonder the film was made at all. Regardless of the hostilities, the movie was released to very good reviews from the ever tough critics. It went a long way in showing the depth of the talent that existed among black performers in Hollywood, especially Lena.
Lena's musical career flourished, but her movie career stagnated. Minor roles in films such as Boogie-Woogie Dream (1944), Words and Music (1948) and Mantan Messes Up (1946) did little to advance her film career, due mainly to the ingrained racist attitudes of the time. Even at the height of Lena's musical career, she was often denied rooms at the very hotels in which she performed because they would not let blacks stay there. After Meet Me in Las Vegas (1956), Lena left films to concentrate on music and the stage. She returned in 1969 as Claire Quintana in Death of a Gunfighter (1969). Nine years later, she returned to the screen again in the all black musical The Wiz (1978) where she played Glinda the Good Witch. Although that was her last big-screen appearance, she stayed busy in television appearing in A Century of Women (1994) and That's Entertainment! III (1994).
Had it not been for the prevailing racial attitudes during the time when Lena was just starting her career, it's fair to say that it would have been much bigger and come much sooner. Even taking those factors into account, Lena Horne is still one of the most respected, talented and beautiful performers of all time.- Actress
- Additional Crew
- Soundtrack
French ballet dancer Leslie Caron was discovered by the legendary MGM star Gene Kelly during his search for a co-star in one of the finest musicals ever filmed, the Oscar-winning An American in Paris (1951), which was inspired by and based on the music of George Gershwin. Leslie's gamine looks and pixie-like appeal would be ideal for Cinderella-type rags-to-riches stories, and Hollywood made fine use of it. Combined with her fluid dancing skills, she became one of the top foreign musical artists of the 1950s, while her triple-threat talents as a singer, dancer and actress sustained her long after musical film's "Golden Age" had passed.
Leslie Claire Margaret Caron was born in France on July 1, 1931. Her father, Claude Caron, was a French chemist, and her American-born mother, Margaret Petit, had been a ballet dancer back in the States during the 1920s. Leslie herself began taking dance lessons at age 11. She was on holidays at her grandparents' estate near Grasse when the Allies landed on the 15th of August 1944. After the German rendition, she and her family went to Paris to live. There she attended the Convent of the Assumption and started ballet training. While studying at the National Conservatory of Dance, she appeared at age 14 in "The Pearl Diver," a show for children where she danced and played a little boy. At age 16, she was hired by the renowned Roland Petit to join the Ballet des Champs-Elysees, where she was immediately given solo parts.
Leslie's talent and reputation as a dancer had already been recognized when on opening night of Petit's 1948 ballet "La Rencontre," which was based on the theme of Orpheus and featured the widely-acclaimed dancer 'Jean Babilee', she was seen by then-married Hollywood couple Gene Kelly and Betsy Blair. Leslie did not meet the famed pair at the end of the show that night as the 17-year-old went home dutifully right after her performance, but one year later Kelly remembered Leslie's performance when he returned to Paris in search for a partner for his upcoming movie musical An American in Paris (1951). The rest is history.
Kelly and newcomer Caron's touching performances and elegant and exuberant footwork (especially in the "Our Love Is Here to Stay" and "Embraceable You" numbers, as well as the dazzling 17-minute ballet to the title song) had critics and audiences simply enthralled. The film, directed by Vincente Minnelli, won a total of six Oscar awards, including "Best Picture," plus a Golden Globe for "Best Picture in a Musical or Comedy". Leslie was put under a seven-year MGM contract where her luminous skills would also be featured in non-musical showcases.
While Leslie's dramatic mettle was tested as a New Orleans nightclub entertainer opposite Ralph Meeker's boxer in Glory Alley (1952) and as a French governess in The Story of Three Loves (1953), it was as the child-like urchin who falls for a cruel carnival puppeteer (Mel Ferrer) in Lili (1953) that finally lifted Leslie to Academy Award attention. The film, which went on to inspire the Tony-winning Broadway musical "Carnival," earned Leslie not only an Oscar nomination, but the British Film Award for "Best Actress" as well. At her waif-like best once again in the musical Daddy Long Legs (1955), Leslie was paired this time with the "other" MGM male dancing legend Fred Astaire. The story, which unfolded in an appealing Henry Higgins/Eliza Dolittle style, was partly choreographed by Roland Petit, who founded the Ballet des Champs-Elysees, Leslie's former dance company.
While the actress gave poignant life to the ugly-duckling-turned-swan tale, The Glass Slipper (1955), choreographed by Petit and co-starring Britisher Michael Wilding as Prince Charming, Leslie also played a ballerina in love with WWII soldier John Kerr in Gaby (1956), a lukewarm remake of the superior Waterloo Bridge (1940). It took another plush musical classic, Gigi (1958), to remind audiences once again of Leslie's unique, international appeal. Audrey Hepburn, who had played the title part on Broadway, was keen on doing the film, but producer Arthur Freed wrote the part expressly for Leslie. It was also Freed who called up Fred Astaire to suggest her as his leading lady in Gigi (1958). Leslie tried the role out on the London stage prior to doing the film version. The musical wound up receiving nine Academy Awards, including "Best Picture," and Leslie herself was nominated for a Golden Globe as "Best Musical/Comedy Actress".
A few more forgettable film roles came and went until she returned triumphantly in a non-musical adaptation of a highly successful 1954 Broadway musical. The film version of Fanny (1961) was more adult in nature for Leslie and was blessed with gorgeous cinematography, a touching script and the continental flavor of veterans, Maurice Chevalier, Charles Boyer, and Horst Buchholz. At the movie's centerpiece is a child-like Leslie (at age 30!) who is mesmerizing as a young girl with child who is deserted by her sailor/boyfriend. Even more adult in scope was the shattering British drama The L-Shaped Room (1962) wherein the actress plays a pregnant French refugee who is abandoned yet again. She earned her a second British Academy Award and a second Oscar nomination for this superb performance.
On stage in London with the Royal Shakespeare Company, Leslie earned applause in another Audrey Hepburn Broadway vehicle, "Ondine," in 1961. While the mid-1960s and 1970s saw her film career take a Hollywood detour into breezy comedy with a number of lightweight fare opposite the likes of Rock Hudson, Cary Grant and Warren Beatty, she managed to shine with a complex working class mother role in the remarkable Italian film Il padre di famiglia (1967) starring Nino Manfredi and Ugo Tognazzi, and was spotted in the popular crossover film Valentino (1977) starring iconic Russian ballet star Rudolf Nureyev.
In the 1980s, Leslie appeared in stage productions of "Can-Can", "On Your Toes" and "One for the Tango". She also was invited and accepted to appear on American TV. At the age of 75, the actress won her first Emmy Award with her very moving portrayal of an elderly woman and closeted rape victim in a 2006 episode of Law & Order: Special Victims Unit (1999). More recent filming have included Damage (1992) by Louis Malle, Chocolat (2000) by Lasse Hallström, and the Merchant Ivory romantic comedy/drama The Divorce (2003).
Leslie's private life has been more turbulent than expected. She is divorced from the late meat packing heir and musician Geordie Hormel; from avant-garde Royal Shakespeare director Peter Hall, by whom she has two children, Christopher and Jennifer (both of whom have careers in the entertainment field); and from her Chandler (1971) movie producer Michael Laughlin.
One of the few MGM post-musical stars to enjoy a long, lasting and formidable dramatic career, Leslie Caron is still continuing today though on a much more limited basis. In 2008, the actress published her memoirs, "Thank Heaven," later translated to French as "Une Francaise à Hollywood". In 2010, she triumphed on the Chatelet Theater stage in Paris with her portrayal of Madame Armfeldt in Stephen Sondheim's "A Little Night Music. More recently the still mesmerizing octogenarian had a recurring role as a countess in the British TV series The Durrells (2016). Over the years, she has received a number of "Life Achievement" awards for her contributions to both film and dance.- Actress
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- Soundtrack
Esther Jane Williams was born on August 8, 1921 in Inglewood, California. Her youth was spent as a teenage swimming champion and she won three United States National championships. She eventually was spotted by a MGM talent scout while working in a Los Angeles department store. She made her film debut with MGM in an "Andy Hardy" picture called Andy Hardy's Double Life (1942). She became Mickey Rooney's love interest in the movie, and her character was called Sheila Brooks. Following this movie, stardom was not far away. MGM created a special sub-genre for her known as "Aqua Musicals". Her first swimming role was in Bathing Beauty (1944). This was a simple movie compared to her later big splashes such as Million Dollar Mermaid (1952), co-starring Victor Mature and Walter Pidgeon. Esther Williams was often called "America's Mermaid", as it appeared that she could stay underwater forever!
Following the decline of the once lucrative MGM aqua musical, she attempted dramatic roles. The Unguarded Moment (1956), is one example of this new found dramatic confidence. It co-starred George Nader and John Saxon. Also, The Big Show (1961), co-starring Cliff Robertson and Robert Vaughn was another dramatic role. Overall, Esther's acting skills were limited and, as a musical star in the audience's eyes, she was unsuccessful. She retired from the movie industry in the 1960s, returning as a star guest in That's Entertainment! III (1994) discussing her appearance in MGM films. She certainly is recognized today for bringing enjoyment, escapism and entertainment on the big screen and has also a highly successful business in swimwear. Occasional television work discussing her contribution to the film industry is a treat for her fans from time to time.
Esther Williams died at age 91 in her sleep on June 6, 2013 in her home in Los Angeles, California.- Actress
- Soundtrack
Kathryn Grayson was born Zelma Kathryn Elisabeth Hedrick in Winston-Salem, NC, on February 9, 1922. This pretty, petite brunette with a heart-shaped face was discovered by MGM talent scouts while singing on the radio. The studio quickly signed her to a contract, and she was given acting lessons along and had to pose for countless publicity photos. Kathryn, a coloratura soprano, made her first film in 1941, a "B" picture called Andy Hardy's Private Secretary (1941). She soon was cast opposite some of MGM's top musical stars of the 1940s, such as Gene Kelly and Mario Lanza. She was paired with Lanza a few times, but the two never got along due mostly to Lanza's hot temper and alcohol abuse. The pairing of Lanza and Grayson would never match the success of lyrical soprano Jeanette MacDonald and baritone Nelson Eddy, although Kathryn and MacDonald did become great friends. Jeanette became a mentor and an older sister figure for Kathryn.
Grayson's most memorable roles came in the early 1950s. They were Show Boat (1951), where she played "Magnolia", opposite Ava Gardner and Howard Keel; Kiss Me Kate (1953), playing actress "Lilli Vanessi", who portrayed "Katherine" in the movie's "show within a show", a musical version of "The Taming of the Shrew". In 1953 she exited MGM, then made only one more film, The Vagabond King (1956), at Paramount. She later worked in nightclubs and on stage.- Actor
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Howard Keel was the Errol Flynn and Clark Gable of "golden age" movie musicals back in the 1950s. With a barrel-chested swagger and cocky, confident air, the 6'4" brawny baritone Keel had MGM's loveliest songbirds swooning helplessly for over a decade in what were some of the finest musical films ever produced.
Born Harry (or Harold) Clifford Keel in Gillespie, Illinois, in 1919 to Homer Charles Keel and Grace (Osterkamp) Keel, and the brother of Frederick William Keel, his childhood was unhappy, his father being a hard-drinking coal miner and his mother a stern, repressed Methodist homemaker. When Keel was 11 his father died, and the family moved to California. He later earned his living as a car mechanic, then found work during WWII at Douglas Aircraft in Los Angeles. His naturally untrained voice was discovered by the staff of his aircraft company and soon he was performing at various entertainments for the company's clients. He was inspired to sing professionally one day while attending a Hollywood Bowl concert, and quickly advanced through the musical ranks from singing waiter to music festival contest winner to guest recitalist.
Oscar Hammerstein II discovered Keel in 1946 during John Raitt's understudy auditions for the role of Billy Bigelow in Broadway's popular musical "Carousel." He was cast on sight and the die was cast. Keel managed to understudy Alfred Drake as Curly in "Oklahoma!" as well, and in 1947 took over the rustic lead in the London production, earning great success. British audiences took to the charismatic singer and he remained there as a concert singer while making a non-singing film debut in the British crime drama The Hideout (1948) (aka "The Small Voice"). MGM was looking for an answer to Warner Bros.' Gordon MacRae when they came upon Keel in England. They made a great pitch for him and he returned to the US, changing his stage moniker to Howard Keel. He became a star with his very first musical, playing sharpshooter Frank Butler opposite brassy Betty Hutton's Annie Oakley in the film version of the Broadway musical Annie Get Your Gun (1950). From then on Keel was showcased in several of MGM's biggest extravaganzas, with Show Boat (1951), Calamity Jane (1953), Kiss Me Kate (1953) and (reportedly his favorite) Seven Brides for Seven Brothers (1954) at the top of the list. Kismet (1955) opposite Ann Blyth would be his last, as the passion for movie musicals ran its course.
Keel managed to move into rugged (if routine) action fare, appearing in such 1960s films as Armored Command (1961), Waco (1966), Red Tomahawk (1967) and The War Wagon (1967), the last one starring John Wayne and featuring Keel as a wisecracking Indian, of all things. In the 1970s Keel kept his singing voice alive by returning full force to his musical roots. Some of his summer stock and touring productions, which included "Camelot," "South Pacific", "Seven Brides for Seven Brothers", "Man of La Mancha", and "Show Boat", often reunited him with his former MGM leading ladies, including Kathryn Grayson and Jane Powell. He also worked up a Las Vegas nightclub act with Grayson in the 1970s.
Keel became an unexpected TV household name when he replaced Jim Davis as the upstanding family patriarch of the nighttime soap drama Dallas (1978) after Davis' untimely death. As Clayton Farlow, Miss Ellie's second husband, he enjoyed a decade of steady work. In later years he continued to appear in concerts. As a result of this renewed fame on TV, Keel landed his first solo recording contract with "And I Love You So" in 1983. Married three times, he died in 2004 of colon cancer, survived immediately by his third wife, three daughters and one son.- Actress
- Soundtrack
Jane Powell was singing and dancing at an early age. She sang on the radio and performed in theaters before her screen debut in 1944. Through the 1940s and 1950s, she had a successful career in movie musicals. However, in 1957, Jane's career in films ended, as she had outgrown her innocent girl-next-door image. She made brief returns to acting in front of the camera -- on television, in commercials, and in a workout video. She also had a variety of roles on stage after the end of her movie career, including the musicals "South Pacific," "The Sound of Music," "Oklahoma!," "My Fair Lady," "Carousel," and a one-woman show "The Girl Next Door and How She Grew," from which she took the title of her 1988 autobiography.- Actress
- Soundtrack
A sparkling, entertaining, highly energetic presence ever since her early days (from age 4) as a singing and tap dancing child vaudevillian, Nanette Fabray was once billed as "Baby Nanette".
She was born in Sherbrooke, Québec, Canada, then moved to the United States, to Louisiana-born parents, Lily Agnes (McGovern) and Raoul Bernard Fabares, a train conductor whose own father was from France. She worked with the top headliners of the era, notably Ben Turpin, in the Los Angeles area. She also sang on radio. It was widely rumored that she appeared in the "Our Gang" ("Little Rascal") film shorts of the late 1920s; however, this was not true. Later the young hopeful received a scholarship to the Max Reinhardt School of the Theatre and appeared in the school's productions of "The Miracle", "Six Characters in Search of an Author" and "A Servant with Two Masters", all in 1939.
The musical comedy stage, however, would be Nanette's forte. Appearing in such hit New York productions as "Meet the People" (1940), "Let's Face It" (1941), "By Jupiter" (1943) and "Bloomer Girl" (1945), she capped this period of great productivity earning awards for her Broadway work in "High Button Shoes" (1947 - Donaldson Award), and "Love Life" (1948 - Tony and Donaldson Awards).
Strangely, Nanette never obtained a strong foothold when it came to film. Aside from secondary roles in The Private Lives of Elizabeth and Essex (1939) starring Bette Davis and Errol Flynn, and the melodrama A Child Is Born (1939), her one claim to movie fame would be her vital participation in the blockbuster MGM musical The Band Wagon (1953) in which she memorably performed the songs "That's Entertainment" and "Louisiana Hayride," and joined Fred Astaire and Jack Buchanan in the standout "Triplets" number.
Into the 1950s, Nanette started checking out what television could do as a possible medium for her. It did a lot. She managed a fine feat by winning two consecutive Emmy awards as Sid Caesar's partner on the now-called Caesar's Hour (1954) following the departure of the seemingly irreplaceable Imogene Coca earlier. This led to Nanette eventually starring in her own sitcom, the short-lived Westinghouse Playhouse (1961) (aka "Yes, Yes, Nanette"), in the role of a Broadway star who becomes a makeshift mom after marrying a widower (Wendell Corey) with two children.
Broadway musicals continued to flourish with parts in "Arms and the Girl" (1950) and "Make a Wish" (1951). Nanette later copped another Tony nomination starring as a fictional "First Lady" opposition "President" Robert Ryan in the musical "Mr. President" (1962). Other tailor-made stage vehicles for her came in the form of "Plaza Suite", "Wonderful Town", "Never Too Late", "Last of the Red Hot Lovers" and "Cactus Flower", among others.
On the TV front, Nanette adjusted well into a lively and graceful support player. She served up a number of delightfully daffy moms, wisecracking friends and intrusive relatives in guest appearances -- sometimes alongside her own niece, actress Shelley Fabares, as was in the case of their regular roles on One Day at a Time (1975). Nanette was also a popular game show personality during the '60s and '70s, appearing on The Hollywood Squares (Daytime) (1965), The New High Rollers (1974), Password (1961) and The Match Game (1962), among others. The singer-comedienne could be counted on for TV musical variety appearances courtesy of headliners Dinah Shore, Andy Williams, Dean Martin and Carol Burnett.
Most importantly, Nanette's humanitarian efforts over the years were long recognized. A positive force as a hearing-impaired performer, she gave much time and effort in achieving equality for all types of handicapped and disabled people, including actors. Nanette was the widow (since 1973) of writer and sometime director/producer Ranald MacDougall, appearing in a few of his credited works, including the film The Cockeyed Cowboys of Calico County (1970), the TV pilot Fame Is the Name of the Game (1966) and the TV-movie Magic Carpet (1972). She and MacDougall have one child. Still as lively as ever, Nanette appeared in a 2007 L.A. musical revue, "The Damsel Dialogues".
Nanette died on February 22, 2018, in Palos Verdes, California. She was 97.- Actress
- Soundtrack
Dabbling in practically every facet of show business during her over six-decade career -- nightclubs, cabaret, radio, recordings, TV, film and Broadway -- sultry, opulent, larger-than-life singing star Dolores Gray, distinctive for her sharp, somewhat equine features, lived the high life for most of her time on earth.
She was born Sylvia Dolores Finkelstein in Los Angeles, California on June 7, 1923, the daughter of vaudevillian parents (her father Harry went by the stage name of "Harry Vernon") who divorced when she was quite young. An older brother, Richard Vernon (later Gray) would also go into the entertainment business. Dolores attended Polytechnic High School in the Sun Valley suburb of Los Angeles and, while there, became a member of the girl's glee club.
Singing in Hollywood supper clubs as early as age 14, Dolores was discovered as a teenager by Rudy Vallee, who helped make her a minor celebrity on his self-titled radio show. She went on to earn two brief, uncredited bits as a singer in the films Lady for a Night (1942) (singing "Has Anybody Seen My Man?") and Mr. Skeffington (1944) (singing "It Had to Be You"). Making her Broadway debut in the show "Seven Lively Arts," a Broadway revue produced by Billy Rose, she co-starred in the musical "Are You With It?" with Johnny Downs a year later.
During this time Dolores developed a strong reputation on both coasts as a cabaret and supper club entertainer. By 1945, she was starring in her own radio program. A chance of a lifetime occurred in 1947 when Dolores gussied up London's post-war theater district as marksman "Annie Oakley" in the Broadway musical hit "Annie Get Your Gun." She was afforded this huge opportunity after the Broadway star, Ethel Merman, turned down the tour. Dolores became the toast of the West End for over two years.
Broadway beckoned following her London success and the dusky alto returned to New York. Co-starring with Bert Lahr in the Broadway musical revue "Two on the Aisle" (1951), which had a decent run, she went on to earn raves in the very short-lived 1953 musical "Carnival in Flanders" with John Raitt. She won the Tony award for this in spite of the fact it closed after only six performances! Dolores would return to Broadway in the 1959 musical "Destry Rides Again" co-starring pre-TV star Andy Griffith and earning a Tony nomination. This was followed by the ill-fated 1967 musical "Sherry!" based on the Kaufman/Hart play "The Man Who Came to Dinner."
Not only was Broadway interested when Dolores returned from London, but MGM also wanted in on the action. Signing the leggy star to a short-term contract, the results were disappointing as the "Golden Age of Hollywood" musicals was on a major decline. She did manage, however, to nab a few scene-grabbing second leads in such musicals as It's Always Fair Weather (1955) starring Gene Kelly; Kismet (1955) with Howard Keel and Ann Blyth; The Opposite Sex (1956) starring June Allyson; and in Joan Collins, a rather misguided musical version of "The Women" film classic. She would also co-star in the chic non-musical Designing Woman (1957) starring Gregory Peck and Lauren Bacall. And then it was over for Dolores in movies.
As the years went by, Dolores would attract tabloid attention with her extravagant lifestyle, outlandish clothes and "Auntie Mame"-like joie de vivre. Being the trooper she was, she found work on TV variety (she made several appearances on "The Ed Sullivan Show"), recorded for Capitol Records (the album "Warm Brandy"), and remained a top-of-the-line nitery star for decades to come. In 1973, she returned to London and replaced Angela Lansbury in the musical "Gypsy" at the Piccadilly Theatre. Over a decade later (1986), she came in as a replacement Dorothy Brock in the Broadway revival of "42nd Street," and, a year later, was featured in the London production of Sondheim's "Follies," earning show-stopping applause for her version of the classic song "I'm Still Here."
Despite her somewhat outré reputation, Dolores married only once -- to California businessman and race horse owner Andrew Crevolin in 1967. Although the marriage lasted only 9 years, the couple never divorced -- in fact, they never even formally separated as she was a devout Catholic. She and Crevolin would remain close friends until his death in 1992. Dolores herself passed away a decade later in her Manhattan apartment of a heart attack at age 78 on June 26, 2002.- Music Artist
- Actor
- Producer
Frank Sinatra was born in Hoboken, New Jersey, to Italian immigrants Natalina Della (Garaventa), from Northern Italy, and Saverio Antonino Martino Sinatra, a Sicilian boxer, fireman, and bar owner. Growing up on the gritty streets of Hoboken made Sinatra determined to work hard to get ahead. Starting out as a saloon singer in musty little dives (he carried his own P.A. system), he eventually got work as a band singer, first with The Hoboken Four, then with Harry James and then Tommy Dorsey. With the help of George Evans (Sinatra's genius press agent), his image was shaped into that of a street thug and punk who was saved by his first wife, Nancy Barbato Sinatra. In 1942 he started his solo career, instantly finding fame as the king of the bobbysoxers--the young women and girls who were his fans--and becoming the most popular singer of the era among teenage music fans. About that time his film career was also starting in earnest, and after appearances in a few small films, he struck box-office gold with a lead role in Anchors Aweigh (1945) with Gene Kelly, a Best Picture nominee at the 1946 Academy Awards. Sinatra was awarded a special Oscar for his part in a short film that spoke out against intolerance, The House I Live In (1945). His career on a high, Sinatra went from strength to strength on record, stage and screen, peaking in 1949, once again with Gene Kelly, in the MGM musical On the Town (1949) and Take Me Out to the Ball Game (1949). A controversial public affair with screen siren Ava Gardner broke up his marriage to Nancy Barbato Sinatra and did his career little good, and his record sales dwindled. He continued to act, although in lesser films such as Meet Danny Wilson (1952), and a vocal cord hemorrhage all but ended his career. He fought back, though, finally securing a role he desperately wanted--Maggio in From Here to Eternity (1953). He won an Oscar for best supporting actor and followed this with a scintillating performance as a cold-blooded assassin hired to kill the US President in Suddenly (1954). Arguably a career-best performance--garnering him an Academy Award nomination for Best Actor--was his role as a pathetic heroin addict in the powerful drama The Man with the Golden Arm (1955).
Known as "One-Take Charlie" for his approach to acting that strove for spontaneity and energy, rather than perfection, Sinatra was an instinctive actor who was best at playing parts that mirrored his own personality. He continued to give strong and memorable performances in such films as Guys and Dolls (1955), The Joker Is Wild (1957) and Some Came Running (1958). In the late 1950s and 1960s Sinatra became somewhat prolific as a producer, turning out such films as A Hole in the Head (1959), Sergeants 3 (1962) and the very successful Robin and the 7 Hoods (1964). Lighter roles alongside "Rat Pack" buddies Dean Martin and Sammy Davis Jr. were lucrative, especially the famed Ocean's Eleven (1960). On the other hand, he alternated such projects with much more serious offerings, such as The Manchurian Candidate (1962), regarded by many critics as Sinatra's finest picture. He made his directorial debut with the World War II picture None But the Brave (1965), which was the first Japanese/American co-production. That same year Von Ryan's Express (1965) was a box office sensation. In 1967 Sinatra returned to familiar territory in Sidney J. Furie's The Naked Runner (1967), once again playing as assassin in his only film to be shot in the U.K. and Germany. That same year he starred as a private investigator in Tony Rome (1967), a role he reprised in the sequel, Lady in Cement (1968). He also starred with Lee Remick in The Detective (1968), a film daring for its time with its theme of murders involving rich and powerful homosexual men, and it was a major box-office success.
After appearing in the poorly received comic western Dirty Dingus Magee (1970), Sinatra didn't act again for seven years, returning with a made-for-TV cops-and-mob-guys thriller Contract on Cherry Street (1977), which he also produced. Based on the novel by William Rosenberg, this fable of fed-up cops turning vigilante against the mob boasted a stellar cast and was a ratings success. Sinatra returned to the big screen in The First Deadly Sin (1980), once again playing a New York detective, in a moving and understated performance that was a fitting coda to his career as a leading man. He made one more appearance on the big screen with a cameo in Cannonball Run II (1984) and a final acting performance in Magnum, P.I. (1980), in 1987, as a retired police detective seeking vengeance on the killers of his granddaughter, in an episode entitled Laura (1987).- Actress
- Soundtrack
American leading lady whose sweet smile and sunny disposition made her the prototypical girl-next-door of American movies of the 1940s. Raised in semi-poverty in Bronx neighborhoods by her divorced mother, Allyson (nee Ella Geisman) was injured in a fall at age eight and spent four years confined within a steel brace. Swimming therapy slowly gave her mobility again, and she began to study dance as well. She entered dance contests after high school and earned roles in several musical short films. In 1938, she made her Broadway debut in the musical "Sing Out the News." After several roles in the chorus of various musicals, she was hired to understudy Betty Hutton in "Panama Hattie." Hutton's measles gave Allyson a shot at a performance and she impressed director George Abbott so much that he gave her a role in his next musical, "Best Foot Forward." She was subsequently hired by MGM to recreate her role in the screen version. The studio realized what it had in her and offered her a contract.
Her smoky voice and winning personality made her very popular and she made more than a score of films for MGM, most often in musicals and comedies. She became a box-office attraction, paired with many of the major stars of the day. In 1945, she married actor-director Dick Powell, with whom she occasionally co-starred. Following Powell's death from cancer in 1963, she retreated somewhat from film work, appearing only infrequently on screen and slightly more often in television films. Occasional nightclub appearances and commercials were her only other public performances since, and she died of pulmonary respiratory failure and acute bronchitis on July 8, 2006, after a long illness.- Actor
- Director
- Soundtrack
Legendary actor Ricardo Montalban was the epitome of Latin elegance, charm and grace on film and television and in the late 1940s and early 1950s reinvigorated the Rudolph Valentino / Ramon Novarro "Latin Lover" style in Hollywood without achieving top screen stardom. Moreover, unlike most minority actors of his time, he fought to upscale the Latin (particularly, Mexican) image in Hollywood. His noted militancy may have cost him a number of roles along the way, but he gained respect and a solid reputation as a mover and shaker within the acting community while providing wider-range opportunities for Spanish-speaking actors via Los Angeles theater.
He was born in Mexico City on November 25, 1920, the youngest of four children to Castilian Spanish immigrants, Ricarda Merino and Jenaro Montalbán. His father was a dry goods store owner. Montalbán moved to Los Angeles as a teen and lived with his much older brother Carlos Montalbán, who was then pursuing show business as both an actor and dancer. Ricardo attended Fairfax High School in Hollywood and was noticed in a student play but passed on a screen test that was offered. Instead, he traveled with his brother to New York, where he earned a bit part in the Tallulah Bankhead stage vehicle "Her Cardboard Lover" in 1940, and won subsequent roles in the plays "Our Betters" and "Private Affair".
Returning to Mexico to care for his extremely ill mother, his dark good looks and magnetic style helped propel him into the Spanish-language film industry. After nearly a dozen or so films, he was on the verge of stardom in Mexico when Metro-Goldwyn-Mayer took an interest in him and he relocated back to Los Angeles. Making his Hollywood leading debut as a robust bullfighter and twin brother of MGM star Esther Williams in the "B"-level musical Fiesta (1947), he attracted immediate attention. His second film with Williams, On an Island with You (1948), led to a contract with the studio, where he routinely ignited "Latin Lover" sparks opposite such prime female stars as Cyd Charisse, Shelley Winters, Anne Bancroft, Pier Angeli, Laraine Day and (once again) Esther Williams, this time in Neptune's Daughter (1949) (one of his MGM extravaganzas opposite gorgeous Lana Turner was actually called Latin Lovers (1953)). His strongest Hispanic competition in films at the time was Argentine-born fellow MGM player Fernando Lamas, who wound up eventually marrying Esther Williams after divorcing another MGM beauty, Arlene Dahl.
Although Montalban was the epitome of the "Latin lover" type, it actually damaged his cinematic career, pigeonholing him and hurting his momentum. He was seldom able to extricate himself from the usual portrayals of bandidos and gigolos, although he did manage to find an interesting film from time to time, such as his turn as a Mexican undercover policeman in the gritty Border Incident (1949), Mystery Street (1950), the classic war film Battleground (1949) and the hard-edged boxing drama Right Cross (1950). Occasionally, he was handed ethnic roles outside the Latino realm, such as his villainous Blackfoot Indian chief in Across the Wide Missouri (1951) starring Clark Gable, his heroic, bare-chested rebel warrior in the steamy Italian sword-and-sandals costumer The Queen of Babylon (1954) alongside Rhonda Fleming and his Japanese Kabuki actor in the Oscar-winning feature Sayonara (1957). It was during the filming of Across the Wide Missouri (1951) that he suffered a serious injury to his spine after he slipped and fell off a running horse, which resulted in a permanent limp.
Well established by this time, Montalban returned to the stage in 1954 with varied roles in such fare as "Can-Can", "The Inspector General", "South Pacific" and "Accent on Youth", before making his Broadway debut as Chico in the original musical "Seventh Heaven" (1955) with Gloria DeHaven, Kurt Kasznar and Bea Arthur. He then earned a Tony Award nomination as the only non-African-American actor in the tropical-themed musical "Jamaica" (1957) co-starring Lena Horne. He also toured as the title role in "Don Juan in Hell" in the 1960s, returning to Broadway with it in 1973 with Agnes Moorehead, Paul Henreid and Edward Mulhare, and touring once again with the show in 1991.
His strong work ethic and reservoir of talent enabled him to continue on television long after his exotic beefcake status in films had waned. He had married Loretta Young's half-sister Georgiana Young in 1944, and appeared on his sister-in-law's television series (The New Loretta Young Show (1962)) several times. He also showed up in a number of television dramatic anthologies (Playhouse 90 (1956) and Colgate Theatre (1958)) and made guest appearances on the popular series of the day, such as Death Valley Days (1952), Bonanza (1959), Burke's Law (1963), Dr. Kildare (1961), The Defenders (1961) and, more notably, a first-season episode of Star Trek (1966) in which he memorably portrayed galaxy arch-villain Khan Noonien Singh. He resurrected this character memorably in Star Trek II: The Wrath of Khan (1982).
Over the years, he continued to appear occasionally on the big screen, typically playing continental smoothies, in such films as Love Is a Ball (1963), Madame X (1966) and Sweet Charity (1969), but it was television that finally made him a household name. Montalban captivated audiences as the urbane, white-suited concierge of mystery Mr. Roarke in the Aaron Spelling series Fantasy Island (1977). He stayed with the series for six seasons, buoyed by his popular "odd couple" teaming with the late Hervé Villechaize, who played Mr. Roarke's diminutive sidekick, and fellow greeter, Tattoo. While it may have seemed a somewhat lightweight and undemanding role for the talented Montalban, it nevertheless became his signature character. The series faltered after Villechaize, who had become erratic and difficult on the set, was fired from the series in 1983. Corpulent Britisher Christopher Hewett, as Lawrence, replaced the Tattoo character but to little avail and the series was canceled one season later. The troubled Villechaize committed suicide on September 4, 1993.
An Emmy Award winner for his role in the miniseries How the West Was Won (1976) and a noteworthy villain in the Dynasty (1981) spin-off series The Colbys (1985), Montalban was also famous for a series of television commercials in which he returned somewhat to his "Latin lover" persona, primarily in a series of slick commercials for Chrysler's Cordoba automobile, pitching the elegant auto with its "rich, Corinthian leather" (it later came to light that this phrase had been conjured up as a marketing tool, and that there was no such product from Corinth or anywhere else!). As for film and television work in his later years, he good-naturedly spoofed his Hollywood image in a number of featured roles, including a hilarious send-up of himself in The Naked Gun: From the Files of Police Squad! (1988). Two of his final, larger-scaled film roles were as the grandfather in the two "Spy Kids" sequels: Spy Kids 2: Island of Lost Dreams (2002) and Spy Kids 3: Game Over (2003). His deep, soothing, confident tones could also be heard in animated features and television series.
Frustrated at Hollywood's portrayal of Mexicans, he helped to found, and gave great support, attention and distinction to, the image-building "Nosotros" organization, a Los Angeles theatre-based company designed for Latinos working in the industry. Nosotros and the Montalban foundation eventually bought the historic Doolittle Theater in Hollywood and renamed the theatre in his honor in 2004. It became the first major theater facility (1200 seats) in the United States to carry the name of a Latino performing artist. In 1980, along with Bob Thomas, he published his memoir, entitled "Reflections: A Life in Two Worlds".
A class act who was beloved in the industry for his gentle and caring nature, the long-term effects of his spinal injury eventually confined him to a wheelchair in his later years. He died in his Los Angeles home of complications from old age on January 14, 2009 at age 88. His wife having died on November 29, 2007, he was survived by their two daughters and two sons: Laura, Anita, Victor and Mark.- Producer
- Actress
- Production Manager
The woman who will always be remembered as the crazy, accident-prone, lovable Lucy Ricardo was born Lucille Desiree Ball on August 6, 1911 in Jamestown, New York, the daughter of Desiree Evelyn "DeDe" (Hunt) and Henry Durrell "Had" Ball. Her father died before she was four, and her mother worked several jobs, so she and her younger brother were raised by their grandparents. Always willing to take responsibility for her brother and young cousins, she was a restless teenager who yearned to "make some noise". She entered a dramatic school in New York City, but while her classmate Bette Davis received all the raves, she was sent home; "too shy". She found some work modeling for Hattie Carnegie's and, in 1933, she was chosen to be a "Goldwyn Girl" and appear in the film Roman Scandals (1933).
She was put under contract to RKO Radio Pictures and several small roles, including one in Top Hat (1935), followed. Eventually, she received starring roles in B-pictures and, occasionally, a good role in an A-picture, like in Stage Door (1937) or The Big Street (1942). While filming Too Many Girls (1940), she met and fell madly in love with a young Cuban actor-musician named Desi Arnaz. Despite different personalities, lifestyles, religions and ages (he was six years younger), he fell hard, too, and after a passionate romance, they eloped and were married in November 1940. Lucy soon switched to Metro-Goldwyn-Mayer, where she got better roles in films such as Du Barry Was a Lady (1943); Best Foot Forward (1943) and the Katharine Hepburn-Spencer Tracy vehicle Without Love (1945). In 1948, she took a starring role in the radio comedy "My Favorite Husband", in which she played the scatterbrained wife of a Midwestern banker. In 1950, CBS came knocking with the offer of turning it into a television series. After convincing the network brass to let Desi play her husband and to sign over the rights to and creative control over the series to them, work began on the most popular and universally beloved sitcom of all time.
With I Love Lucy (1951), she and Desi promoted the 3-camera technique now the standard in filming sitcoms using 35mm film (the earliest known example of the 3-camera technique is the first Russian feature film, "Defence of Sevastopol" in 1911). Desi syndicated I Love Lucy. Lucille Ball was the first woman to own her own studio as the head of Desilu Productions.
Lucille Ball died at Cedars-Sinai Medical Center, age 77, of an acute aortic aneurysm on April 26, 1989 in Los Angeles, CA.- Actor
- Producer
- Director
Born in London, England and son of a British World War I hero, Lawford had spent most of his childhood in Paris, France and began his acting career at a very young age. His parents were not married when their son was born. As a result of the scandal, The Lawfords fled to America.
As a young child, the young Peter injured his arm by in his own words, "attempt to run through a glass door." Lawford's arm was badly injured however, the doctors could save it. The injury was so bad, it was slightly deformed and bothered him throughout life. But such was his luck, the injury kept him off the draft for World War II, which became the biggest boon of his acting career.
When Lawford was signed to MGM, his mother approached studio head, Louis B. Mayer, to pay her a salary as her son's personal assistant. However, Mayer declined. She then claimed that her son was "homosexual" and needed to be "supervised". This damaged the relationship between her and her son.
Lawford starred in his first major movie called A Yank at Eton (1942) , co-starring Mickey Rooney, Ian Hunter and Freddie Bartholomew. His performance was widely praised. During this time, Lawford started to get more leads when major MGM star Clark Gable was drafted into the war. Later, it was Good News (1947), co-starring June Allyson that became Lawford's greatest claim to fame.
Probably Lawford's most controversial affair, amongst many, was with African-American actress Dorothy Dandridge. It was rumored that both Lawford and Dandridge were planning to get married but canceled fearing it would jeopardize their careers.
Besides his successful career and being a socialite, Lawford was also part of the Rat Pack, with Dean Martin, Frank Sinatra, Joey Bishop and Sammy Davis Jr. .- Actress
- Soundtrack
Vera-Ellen began dancing at the age of 10, and a few years later became one of the youngest Rockettes. She appeared in several Broadway musicals until she was spotted by film producer Samuel Goldwyn in 1945. She was only 24 years old when Goldwyn cast her opposite Danny Kaye in Wonder Man (1945). She danced with Fred Astaire in Three Little Words (1950) and with Gene Kelly in On the Town (1949). Blonde, slim of build, and a dancing sensation, she appeared in a string of light-hearted but successful films. Vera-Ellen retired from acting in the late 1950s.- Actress
- Writer
- Music Department
She was the daughter of Andrew and Frances Clooney and grew up in Maysville, Kentucky, where she and her sister Betty Clooney used to sing in her grandfather's mayoral election campaigns, which he won three times. She made her singing debut on Cincinnati radio station WLW in 1941 at 13. On WLW she worked with band leader Barney Rapp, who had also worked with Doris Day and Andy Williams at the same station. She attended high school at Our Lady of Mercy in Cincinnati. In 1946 she appeared with her sister in Atlantic City, New Jersey, at the Steel Pier with Tony Pastor's band. In 1949 she went solo and later appeared in White Christmas (1954), co-starring opposite Bing Crosby and Danny Kaye. Her first big hit was "Come On A My House" in 1951. She married José Ferrer in 1953 and they had five children between 1955 and 1960. Her marriage to Ferrer was a tempestuous one and she had a nervous breakdown in 1968, but went on to resume her career in 1976. Her life was dramatized in a 1982 made-for-television movie starring Sondra Locke, who was actually just 16 years Rosemary's junior but constantly lied about her age.
Her son Gabriel is married to singer Debby Boone, daughter of 1950s pop singer Pat Boone. Her brother, Nick Clooney, was an ABC news anchor in Cincinnati, and her nephew George Clooney has developed into one of the biggest movie stars of the 21st century. In 1968 she was standing in the Ambassdor Hotel in Los Angeles with Roosevelt Grier when Robert F. Kennedy was assassinated in the hotel kitchen after she had participated in his campaign rally. Her top hits include "Hey There" in 1954, "Tenderly", "This Ole House" and "Half As Much" in 1952.- Actress
- Soundtrack
Julia Chalene Newmeyer was born on August 16, 1933, in Los Angeles, California, the eldest of three children. Her father, Don, was a one-time professional football player (LA Buccaneers, 1926), her mother, Helene Jesmer, was a star of the Follies of 1920 and later became a fashion designer under the professional name of Chalene. From an early age, Julie studied piano, dance, and classical ballet. She graduated from high school at the age of 15, and spent a year touring Europe with her mother and brother. She became prima ballerina for the Los Angeles Opera. She attended UCLA studying classical piano, philosophy, and French.
Newmar went to New York and tried out for Broadway musicals; in 1955, she made her Broadway debut as the ballerina in "Silk Stockings". She won acclaim for her role as Stupefyin' Jones in "Li'l Abner". Though audiences and critics alike were stupefied by her good looks, that was not the compliment Newmar wanted.
Newmar wanted to be known for her comedy, as she told the New York Times: "Tell me I'm funny, and it's the greatest compliment in the world." She had beauty, brains and a fantastic sense of humor. Promoting her various Broadway and off-Broadway show appearances, she often posed as a pin-up girl. Making the transition to television, Newmar appeared in Rod Serling's science-fiction series The Twilight Zone (1959), playing Miss Devlin (devil). As physical perfection, Julie was perfect to play Rhoda the Robot in My Living Doll (1964); the sitcom had an enthusiastic cult following. In 1966, urged on by her friends, she tried out for and was cast as Catwoman (a character she had never heard of) in the wildly popular television series Batman (1966) On account of a movie commitment, Newmar was unavailable to play Catwoman in the third season. (Her role was taken over by Eartha Kitt.)
Newmar was very busy in the 1960s and 1970s, making guest appearances in many television series and several television movies. She toured the country in stage productions of "Damn Yankees" and "Dames at Sea", among others. Becoming an entrepreneur, in 1977, Newmar turned up in People magazine wearing her new invention, Nudemar pantyhose. In the 1980s, she appeared in nine films while she was busy raising her son and working in the real-estate business. Newmar went back to UCLA to take a few real-estate courses. In 1991, she toured in a stage production of "The Women". Still very active, and very beautiful, she occasionally has appeared at fan conventions.- Actor
- Soundtrack
Jules Munshin was an American actor, comedian, and singer from New York City. He is primarily remembered for his appearances in MGM film musicals. Munshin's family name was originally "Monszejn", and his father was named Gershon Joseph Monszejn. He first gained fame as a Broadway actor, starring in the musical revue "Call Me Mister" (1946), by Arnold M. Auerbach (1912-1998) and Harold Rome (1908-1993). The theme of the musical was the then-ongoing demobilization of troops from service in World War II, their return to civilian life, and their demand to be called by name and not by military rank. The musical was a hit, and had a run of 734 performances.
His film debut was Easter Parade (1948), in which he played the headwaiter, François. The film was a box office success, earning about 5,8 million dollars at the domestic box office. It was the most financially successful picture to feature lead actor Fred Astaire and lead actress Judy Garland. Munshin had a supporting role in the baseball-themed musical Take Me Out to the Ball Game (1949), which featured Gene Kelly and Frank Sinatra, as the male leads. Munshin had another supporting role in the romance film That Midnight Kiss (1949), in which Mario Lanza was the male lead. Munshin had a more substantial role in the musical On the Town (1949) about three sailors on shore leave in New York City. The film was a critical and commercial hit, and remains Munshin's most memorable film appearance.
Munshin resurfaced in We Go to Monte Carlo (1953) (original title: "Monte Carlo Baby") about a spoiled young actress (played by Audrey Hepburn). The film helped launch her career. Munshin then had a minor role in the romantic comedy Ten Thousand Bedrooms (1957), which featured Dean Martin as the male lead. He had a more substantial role in the musical comedy Silk Stockings (1957), which was loosely based on Ninotchka (1939). Munshin played Bibinski, an inept Soviet operative who has to convince expatriate Russian composer Peter Illyich Boroff (played by Wim Sonneveld) to return to their motherland. The film was a popular hit and garnered acclaim for Cyd Charisse (the female lead). Munshin's next supporting role was in the Disney comedy film Monkeys, Go Home! (1967). The plot involved chimpanzees used as a labor force in an olive grove, and other workers protesting about the chimps stealing their jobs. Munshin's final film role was in the Charlie Chan-parody film Mastermind (1976), in which he played an Israeli agent.
In February 1970, Munshin suffered a heart attack. He died three days before his 55th birthday.- Music Artist
- Actor
- Producer
Bing Crosby was born Harry Lillis Crosby, Jr. in Tacoma, Washington, the fourth of seven children of Catherine (Harrigan) and Harry Lincoln Crosby, a brewery bookkeeper. He was of English and Irish descent. Crosby studied law at Gonzaga University in Spokane but was more interested in playing the drums and singing with a local band. Bing and the band's piano player, Al Rinker, left Spokane for Los Angeles in 1925. In the early 1930s Bing's brother Everett sent a record of Bing singing "I Surrender, Dear" to the president of CBS. His live performances from New York were carried over the national radio network for 20 consecutive weeks in 1932. His radio success led Paramount Pictures to include him in The Big Broadcast (1932), a film featuring radio favorites. His songs about not needing a bundle of money to make life happy was the right message for the decade of the Great Depression. His relaxed, low-key style carried over into the series of "Road" comedies he made with pal Bob Hope. He won the best actor Oscar for playing an easygoing priest in Going My Way (1944). He showed that he was indeed an actor as well as a performer when he played an alcoholic actor down on his luck opposite Grace Kelly in The Country Girl (1954). Playing golf was what he liked to do best. He died at age 74 playing golf at a course outside Madrid, Spain, after completing a tour of England that had included a sold-out engagement at the London Palladium.- Actress
- Additional Crew
- Soundtrack
Carmen Miranda was born Maria do Carmo Miranda da Cunha on February 9, 1909, near Porto, Portugal, in the town of Marco de Canavezes. Not long after her birth her family moved to Brazil, where her father was involved in the produce business. The family settled in the then-capital city of Rio de Janeiro. ' After leaving school, Carmen got a job at a local store, and often began singing on the job. Before long she was discovered and got a singing job on a local radio station. She ultimately got a recording contract with RCA. By 1928 she was a genuine superstar in Brazil. As with other popular singers of the era, she eventually made her way into the film world. She made her debut in the Brazilian documentary A Voz do Carnaval (1933). Two years later she appeared in her first feature film, Alô, Alô, Brasil (1935).
However. it was Estudantes (1935) that seemed to solidify Carmen in the minds of the Brazilian movie audiences. Now they realized she could act as well as sing. Although there was three years between "Alo, Alo Carnaval" and Banana-da-Terra (1939), Carmen continued to churn out musical hits in Brazil. The latter film would be the last in her home country.
In late 1939 Carmen arrived, with much fanfare in the press, in New York City. She was now ready to capture Americans' hearts with her talent. She appeared in some musical revues on Broadway and, just as everyone thought, was a huge hit. In 1940 Carmen was signed to appear in the Twentieth Century-Fox production Down Argentine Way (1940), with Betty Grable and Don Ameche. The only complaint that critics had was the fact that Carmen was not on the screen enough.
In 1941 she was, again, teamed with Ameche in addition to Alice Faye in That Night in Rio (1941). The film was extremely popular with the theater patrons. Her unique songs went a long way in making her popular. It was after Week-End in Havana (1941) that American cartoon artists began to cash in on Carmen's ever-growing popularity. In the 1930s and 1940s cartoons were sometimes shown as a prelude to whatever feature film was showing. Sure enough, the cartoon version of Carmen came wriggling across the screen, complete with her trademark fruit hat and wide, toothy grin.
In 1942 Carmen starred in Springtime in the Rockies (1942) with Betty Grable and Cesar Romero, both of whom she had worked with before. It was shortly after this that America began adopting her style of dress as the latest fad. 1944 saw her in three films: Something for the Boys (1944), Four Jills in a Jeep (1944) and Greenwich Village (1944). The first two did well at the box-office, but the last one left a lot to be desired. It was her last busy year in film. Carmen made one film each in 1945, '46, '47 and '48. After that she didn't make a film for two years, until Nancy Goes to Rio (1950), a production for MGM. Once again didn't make a film for several years, returning with Scared Stiff (1953).
She did stay busy, singing on the nightclub circuit and appearing on the relatively new medium of television. However, "Scared Stiff" was her final performance on the silver screen. On August 4, 1955, she suffered a heart attack, although she didn't realize it at the time, during a video taping of The Jimmy Durante Show (1954). She went home after attending a party.
Early the next morning, on August 5, Carmen suffered a fatal heart attack. She was just 46 years old. Her body was flown to her adopted country of Brazil, where her death was declared a period of national mourning.- Actress
- Producer
- Additional Crew
One of America's most loved actresses was born Doris Mary Kappelhoff on April 3, 1922, in Cincinnati, Ohio, to Alma Sophia (Welz), a housewife, and William Joseph Kappelhoff, a music teacher and choir master. Her grandparents were all German immigrants. She had two brothers, Richard, who died before she was born and Paul, a few years older.
Her parents divorced while she was still a child, and she lived with her mother. Like most little girls, Doris liked to dance. At fourteen, she formed a dance act with a boy, Jerry Doherty, and they won $500 in a local talent contest. She and Jerry took a brief trip to Hollywood to test the waters. They felt they could succeed, so she and Jerry returned to Cincinnati with the intention of packing and making a permanent move to Hollywood. Tragically, the night before she was to move to Hollywood, she was injured riding in a car hit by a train, ending the possibility of a dancing career.
It was a terrible setback, but after taking singing lessons she found a new vocation, and at age 17, she began touring with the Les Brown Band. She met trombonist Al Jorden, whom she married in 1941. Jorden was prone to violence and they divorced after two years, not long after the birth of their son Terry. In 1946, Doris married George Weidler, but this union lasted less than a year. Day's agent talked her into taking a screen test at Warner Bros. The executives there liked what they saw and signed her to a contract (her early credits are often confused with those of another actress named Doris Day, who appeared mainly in B westerns in the 1930s and 1940s).
Her first starring movie role was in Romance on the High Seas (1948). The next year, she made two more films, My Dream Is Yours (1949) and It's a Great Feeling (1949). Audiences took to her beauty, terrific singing voice and bubbly personality, and she turned in fine performances in the movies she made (in addition to several hit records). She made three films for Warner Bros. in 1950 and five more in 1951. In that year, she met and married Martin Melcher, who adopted her young son Terry, who later grew up to become Terry Melcher, a successful record producer.
In 1953, Doris starred in Calamity Jane (1953), which was a major hit, and several more followed: Lucky Me (1954), Love Me or Leave Me (1955), The Man Who Knew Too Much (1956) and what is probably her best-known film, Pillow Talk (1959). She began to slow down her filmmaking pace in the 1960s, even though she started out the decade with a hit, Please Don't Eat the Daisies (1960).
In 1958, her brother Paul died. Around this time, her husband, who had also taken charge of her career, had made deals for her to star in films she didn't really care about, which led to a bout with exhaustion. The 1960s weren't to be a repeat of the previous busy decade. She didn't make as many films as she had in that decade, but the ones she did make were successful: Do Not Disturb (1965), The Glass Bottom Boat (1966), Where Were You When the Lights Went Out? (1968) and With Six You Get Eggroll (1968). Martin Melcher died in 1968, and Doris never made another film, but she had been signed by Melcher to do her own TV series, The Doris Day Show (1968). That show, like her movies, was successful, lasting until 1973. After her series went off the air, she made only occasional TV appearances.
By the time Martin Melcher died, Doris discovered she was millions of dollars in debt. She learned that Melcher had squandered virtually all of her considerable earnings, but she was eventually awarded $22 million by the courts in a case against a man that Melcher had unwisely let invest her money. She married for the fourth time in 1976 and since her divorce in 1980 has devoted her life to animals.
Doris was a passionate animal rights activist. She ran Doris Day Animal League in Carmel, California, which advocates homes and proper care of household pets.
Doris died on May 13, 2019, in Carmel Valley Village, California. She was 97.