List activity
44 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
15 people
- Writer
- Actor
Dashiell Hammett was born May 27, 1894, in St. Mary's County, Maryland, to Richard Hammett and Mary Bond. He joined the Baltimore branch of the Pinkerton Detective Agency in 1915. He enlisted in the US Army's Ambulance Corps in June 1918 and was posted to a camp 20 miles from Baltimore, where he caught the flu, which developed into tuberculosis. He was invalided out of the army in July 1919 and returned to Pinkerton's. Hammett entered the veterans hospital near Tacoma, Washington, with tuberculosis in 1920. Upon his release he worked at Pinkerton's Spokane branch. Hospitalized again with tuberculosis, he met and courted a nurse, Josephine Dolan. In February 1921 he was moved to an army hospital near San Diego. After he was released he married a now-pregnant Josie in San Francisco. Hammett worked for the San Francisco branch of Pinkerton's, but left the agency in 1921 or 22 due to ill health. He took a writing course and sold droll vignettes to "The Smart Set" magazine during 1922, and some short stories to other magazines. He began to sell detective stories to "The Black Mask" from 1923. After the birth of the couple's second daughter in 1926, Hammett gave up freelance writing and became an advertising copy writer for the jeweler Albert Samuels, but left after six months due to ill health. Forced by his tuberculosis to live apart from Jose and the children, the marriage eventually broke up. Hammett supported himself through writing, chiefly for "The Black Mask", now under editor Joe Shaw. Hammett's long short stories were republished in novel form by Alfred Knopf. In 1929 Hammett moved to New York. After the success of his novel "The Maltese Falcon", he was engaged as a screenwriter by Paramount Pictures and moved to Hollywood, where he met Lillian Hellman. He returned to New York in 1931, where he wrote "The Glass Key". "The Thin Man" was published as a magazine serial in 1933. Hammett was encouraged by Hearst to write the "Secret Agent X9" comic strip, which ran from 1934-35, his last original work. In 1942 he re-enlisted in the army and was posted to the Aleutian Islands off of Alaska, where he edited The Adakian. When discharged in 1945, he returned to New York and became President of the NY Civil Rights Congress. In July 1951 Hammett was subpoenaed to testify on the Civil Rights Congress' bail fund, and was jailed for refusing to answer questions. Upon his release from jail, he was presented with a bill by the Internal Revenue Service for $111,000 in back taxes. In failing health, he lived off and on with Hellman. In 1961 he was admitted to New York's Lenox Hill Hospital, New York, where he died on January 10.- Writer
- Actor
Mickey Spillane, the king of the pulp novelists in the post-WW II period, sold an estimated 200 million copies globally. He was born Frank Morrison Spillane in Brooklyn, New York. Young Frank's mother was a Protestant who bestowed on him his middle name "Morrison", but his Irish Catholic father, barkeep John Joseph Spillane, allegedly had his son baptized with the middle name "Michael", a traditional name for Irishmen (so common, in fact, that the nickname derived from it, "Mick", served as a derogatory term for Irishmen in both the US and England). "Women liked the name Mickey", Spillane said, explaining why he chose the moniker that eventually became one of the world's best-selling novelists. In 1980 seven of the top 15 all-time bestselling fiction books published in the U.S. had been written by Spillane.
Despite the fact that his books were international bestsellers, as a writer Spillane was almost universally reviled by literary critics. He and his novels were attacked not only for their alleged illiteracy but were denounced by the U.S. Senate's Kefauver Commission as promoting juvenile delinquency. Explaining the extraordinary appeal of his novels, Spillane simply said, "People like them." He countered his critics by saying they were jealous of his success. "I'm a writer, not an author," was Spillane's mantra all through his literary life. "The difference is a writer makes money." As late as 1999 Spillane told an audience at London's National Film Theatre, "Authors write, writers get paid." When he was asked about his literary influences, Spillane replied, "Dollars".
Spillane was brought up in the grimy industrial town of Elizabeth, NJ, in what he described as a "very tough" neighborhood. His mother provided him with balance inside the confines of the home, where he became a voracious reader, devouring all of the works of Alexandre Dumas and Herman Melville by the time he was 11 years old. While still a high school student, he "went professional" at the age of 14, writing for the Elizabeth Daily Journal. In 1935 he began submitting his work to magazines before aiming lower and learning his craft by writing for comic books, including such popular titles as "Batman", "Captain Marvel", "Captain America" and "Superman". "[It was] a great training ground for writers," Spillane explained. "You couldn't beat it."
After high school Spillane went to Kansas State College on a football scholarship before dropping out. He joined the Army Air Corps the day after Pearl Harbor, but never left the US, spending the war years flying fighter planes and teaching air cadets how to fly. Still a civil pilot after the war, Spillane claimed he had put in 11,000 hours in the air by 1999. In 1945 he married Mary Ann Pearce, the first of his three wives. The couple had two sons and two daughters.
After leaving the military, he briefly worked in the Barnum and Bailey Circus as a trampoline artist and adept knife-thrower. Subsequently he worked for the FBI as an undercover operative to crack a narcotics ring (the subject of the novel "Kiss Me, Deadly", not the atomic bomb plot of the movie). He claimed in interviews that he had been shot twice and had been knifed once. Eventually he went back to writing.
Influenced by Carroll John Daly, the pulp writer who created the seminal private eye Race Williams, Spillane made the P.I. genre his own. His work was in the vein of the "hard-boiled" Black Mask school of pulp fiction of the 1930s. As a pulp writer, Spillane's mantra was "violence will outsell sex every time." By combining them he created a formula for success that begat a book publishing phenomenon.
Spillane's innovation was to inject gory violence into P.I. stories for a generation of 16 million men who had just been through the most violent war in history. After the war, the popularity of slick magazines was eroding due to the booming market in paperbacks, pulp fiction that sold for 25 cents a copy. These new mass-market novels featured lurid covers that would attract a customer at what became the ubiquitous steel-wire racks filled with paperbacks that sprouted up at bus stations, lunch counters, shops and newsstands all over the world.
Spillane's style was perfect for the new post-war fiction market. He attributed his success to Roscoe Fawcett of Fawcett Gold Medal Books, who envisioned a market for original novels instead of the reprints of classic works that dominated the paperback market during World War II. Gold Medal started to market novels written directly for paperback, and by injecting gore into the PI genre, both Fawcett and Spillane won a gold medal for their staggering sales.
Second wife Sherri Malinou was a model who Spillane noticed when she was featured on the cover of one of his books.
Raymond Chandler said of Spillane, "Pulp writing at its worst was never as bad as this stuff." Spillane's books always featured a great hook in the opening pages, as he believed that "the first page sells the book". His narratives are first-person spoken monologues, directly addressed to the reader. Hammer is less a detective in the guise of Dashiell Hammett's Continental Op or Raymond Chandler's Philip Marlowe than he is a vigilante, always ready to partake in a bit of the old ultra-violence.
Spillane published his first Mike Hammer pulp, the infamous "I, the Jury', in 1947. Written in nine days, the book introduces Hammer as a tough-talking, hard-drinking bruiser.
Other Hammer books with the same formula of murderous mugs and even more dangerous, double-crossing malevolent dames followed: "Vengeance in Mine" (1950), "My Gun is Quick" (1950), "The Big Kill" (1951), and "Kiss Me, Deadly" (1952). Hammer was not only a two-fisted he-man, but each of those mailed fists typically clutched a large-caliber automatic. No dainty .32 Colts--the pistol of choice for the sophisticated detectives of the '20s and '30s--for Mike Hammer. His hirsute ham-fist sported a .45 ACP, the service pistol of the GI generation.
Mike Hammer was a true bellwether of the times, for rather than just go after criminals or garden-variety gangsters like self-respecting operatives of the '30s, he went after "Reds" and "Commies", the nation's bogeymen, and women who were stealing atomic secrets, adulterating Hollywood films with Red propaganda. In the potboiler "One Lonely Night" (1951), hammer wields a "Chicago typewriter" - a submachine gun - to tap out one-way tickets to heaven for 40 Commie heavies and fellow-travelers.
Though he eschewed politics in real life, he regarded himself as a patriot and was admired by prominent right-wingers for his anti-Communist stand. Novelist-philosopher Ayn Rand extolled Spillane, while movie cowboy John Wayne gave him a Jaguar XK140 roadster in 1956, a car he still had a half-century later (and in top working order). While Cold War critics often tried to make a link between Spillane and notorious Red-baiter Sen. Joseph McCarthy, when asked in 1999 if he approved of what McCarthy had done, Spillane replied, "McCarthy was a nit-head. He didn't know what was going on. He was a slob."
Spillane stopped writing for nearly a decade after converting to the Jehoavah's Witnesses in 1952. At this point he didn't need to write, as the royalties from the millions of copies of his books earned him a substantial income. In 1961 he returned to writing with "The Deep", arguably the best of the Mike Hammer novels. With the "Day of the Guns" in 1964 Spillane created a new series featuring secret agent Tiger Mann, a globetrotting spy who was America's answer to James Bond. Like Hammer, Mann was anti-Communist in the extreme and wiped out Reds with relish during the Cold War years of the 1960s. However, during Spillane's absence during the 50s, Ian Fleming (whom Spillane dismissed as "a gourmet") and other writers had stolen his thunder: the Tiger Mann series and Spillane's other non-series novels did not enjoy the vast sales of the '50s. The second part of Spillane's formula - sex - had lost its steam in the 1960s, after the collapse of censorship led to a proliferation of raw pornography and the availability of much more graphic, though serious, novels for the more thoughtful reader.
The Hammer novels did well in the visual media: there were two television series and multiple movies. The only distinguished film made from Spillane's works was Robert Aldrich's late noir Kiss Me Deadly (1955), now a cult classic. Spillane hated the film, which transmogrified the narcotics dealer plot of the novel into the theft of an atomic bomb (a true Cold War plot), which he found ludicrous.
Spillane took another hiatus from writing novels between 1973 and 1989, although he did write at two well-reviewed children's books, "The Day the Sea Rolled Back" (1979) and "The Ship That Never Was" (1982). He wrote the novels from the point of view of a child, he said, which explained their success. Though no longer a best-selling author, Spillane retained his fame during the 1970s due to his appearances in Miller Lite beer TV commercials. Although not a teetotaler, Spillane did not drink much, preferring an occasional beer over hard liquor, and he never smoked. He revived the Hammer franchise with "The Killing Man" in 1989, but Spillane, now in his 70s, was not a big seller. His last novel, "Black Alley" (1996), was published in 1996.
In retirement Spillane reportedly suffered a stroke. He lived, until his death, in Myrtle Beach, SC, with third wife Jane Rodgers Johnson, whom he married in 1983. He was an active Jehovah's Witness into his 80s, going from house to house to spread his faith and distribute copies of the "The Watchtower." He died on July 17, 2006, in Myrtle Beach from cancer. He was 88 years old.- Writer
- Actor
An American novelist, writer of crime fiction featuring the private detective Philip Marlowe, Raymond (Thornton) Chandler was born in Chicago of an American father and an Anglo-Irish mother. He moved to England when his parents divorced. He attended Dulwich College and studied languages in France and Germany before returning to England in 1907 and becoming a naturalized British subject. He took a civil service job in the Admiralty, which he left in 1912 to return to America, settling in California. After the US entered World War I he enlisted in the Canadian Army, then transferred to the Royal Flying Corps. After the armistice he returned to California and got a series of bookkeeping jobs, finally becoming a vice-president with the Dabney Oil syndicate.
All along, however, he had been submitting stories, poems, sketches and essays to a number of periodicals, but when the Depression hit and the bottom fell out of the oil business, he lost his job and turned to writing full-time. He found a niche with stories of the "hard-boiled" school popularized by Dashiell Hammett, and had many of his early stories accepted by Black Mask, the same mystery magazine that had first published Hammett. His first four novels--"The Big Sleep" (1939, filmed 1946 [The Big Sleep (1946)] and 1978 [The Big Sleep (1978)]); "Farewell My Lovely" (1940, filmed 1944 [Murder, My Sweet (1944)] and 1975 [Farewell, My Lovely (1975)]); "The High Window" (1942, filmed 1947 [The Brasher Doubloon (1947)]); and "The Lady in the Lake (1943, filmed 1946 [Lady in the Lake (1946)])--which reworked plots from some of his short stories, were his most successful.
He spent some time in Hollywood as a screenwriter, contributing to Billy Wilder's Double Indemnity (1944), the film noir classic The Blue Dahlia (1946) and Alfred Hitchcock's Strangers on a Train (1951). He wrote realistically, in stark contrast to the English style of drawing-room puzzle mysteries where an amateur detective always knows more than the police and clues turn up at just the right moment. Chandler dismissed these plots as "having God sit in your lap."- Prolific mystery writer Cornell Woolrich was born in New York City, but his parents separated when he was young and he spent much of his childhood in Latin America with his father. Then he was sent back to New York to live with his rich, domineering mother, Claire. He attended Columbia University where he wrote his first novel, a Jazz Age piece published in 1926 titled "Cover Charge". Another book, "Children of the Ritz", followed in 1927. Hollywood beckoned but his time there as an (uncredited) screenwriter proved to be unhappy. A disastrous marriage to a producer's daughter failed quickly and he headed back to New York -- and Claire. He found his niche writing suspense stories for magazines such as "Argosy", "Black Mask" and "Thrilling Mystery". Sales were made to Hollywood, his reputation grew, and his bank account increased. Some called him "the Poe of the 20th century". Then his mother sank into a lengthy illness and his output fell as he devoted more and more of his time to her care. By the time she died in 1957, he was "burned out". From then until his death in 1968, he lived a lonely life marked by alcoholism and poor health (he delayed visiting a doctor when his leg started bothering him; he eventually lost it to gangrene). When he died his funeral went unattended.
He bequeathed money to Columbia to set up a creative writing course which was not named after him but after who else?-Claire. - Actor
- Producer
- Additional Crew
Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.- Actor
- Producer
- Camera and Electrical Department
Alan Walbridge Ladd was born in Hot Springs, Arkansas, the only child of Ina Raleigh (aka Selina Rowley) and Alan Harwood Ladd, a freelance accountant. His mother was English, from County Durham. His father died when he was four. At age five, he burned his apartment playing with matches, and his mother moved them to Oklahoma City. He was malnourished, undersized and nicknamed Tiny. His mother married a house painter who moved them to California--a la "The Grapes of Wrath"--when he was eight. He picked fruit, delivered papers, and swept stores. In high school he discovered track and swimming. By 1931 he was training for the 1932 Olympics, but an injury put an end to those plans. He opened a hamburger stand called Tiny's Patio, and later worked as a grip at Warner Brothers Pictures. He married his friend Midge in 1936, but couldn't afford her, so they lived apart. In 1937, they shared a friend's apartment. They had a son, Alan Ladd Jr., and his destitute alcoholic mother moved in with them, her agonizing suicide from ant poison witnessed a few months later by her son. His size and coloring here regarded as not right for movies, so he worked hard at radio, where talent scout and former actress Sue Carol discovered him early in 1939. After a string of bit parts in "B" pictures--and an unbilled part in Orson Welles' classic Citizen Kane (1941)--he tested for This Gun for Hire (1942) late in 1941. His fourth-billed role as psychotic killer Raven made him a star. He was drafted in January 1943 and discharged in November with an ulcer and double hernia. Throughout the 1940s his tough-guy roles packed audiences into theaters and he was one of the very few males whose cover photos sold movie magazines. In the 1950s he was performing in lucrative but unrewarding films (an exception being what many regard as his greatest role, Shane (1953)). By the end of the 1950s liquor and a string of so-so films had taken their toll. In November 1962 he was found unconscious lying in a pool of blood with a bullet wound near his heart, a probable suicide attempt. In January 1964 he was found dead, apparently due to an accidental combination of alcohol and sedatives.- Actor
- Producer
- Writer
Robert Mitchum was an underrated American leading man of enormous ability, who sublimated his talents beneath an air of disinterest. He was born in Bridgeport, Connecticut, to Ann Harriet (Gunderson), a Norwegian immigrant, and James Thomas Mitchum, a shipyard/railroad worker. His father died in a train accident when he was two, and Robert and his siblings (including brother John Mitchum, later also an actor) were raised by his mother and stepfather (a British army major) in Connecticut, New York, and Delaware. An early contempt for authority led to discipline problems, and Mitchum spent good portions of his teen years adventuring on the open road. He later claimed that on one of these trips, at the age of 14, he was charged with vagrancy and sentenced to a Georgia chain gang, from which he escaped. Working a wide variety of jobs (including ghostwriter for astrologist Carroll Righter), Mitchum discovered acting in a Long Beach, California, amateur theater company. He worked at Lockheed Aircraft, where job stress caused him to suffer temporary blindness. About this time he began to obtain small roles in films, appearing in dozens within a very brief time. In 1945, he was cast as Lt. Walker in Story of G.I. Joe (1945) and received an Oscar nomination as Best Supporting Actor. His star ascended rapidly, and he became an icon of 1940s film noir, though equally adept at westerns and romantic dramas. His apparently lazy style and seen-it-all demeanor proved highly attractive to men and women, and by the 1950s, he was a true superstar despite a brief prison term for marijuana usage in 1949, which seemed to enhance rather than diminish his "bad boy" appeal. Though seemingly dismissive of "art," he worked in tremendously artistically thoughtful projects such as Charles Laughton's The Night of the Hunter (1955) and even co-wrote and composed an oratorio produced at the Hollywood Bowl by Orson Welles. A master of accents and seemingly unconcerned about his star image, he played in both forgettable and unforgettable films with unswerving nonchalance, leading many to overlook the prodigious talent he can bring to a project that he finds compelling. He moved into television in the 1980s as his film opportunities diminished, winning new fans with The Winds of War (1983) and War and Remembrance (1988). His sons James Mitchum and Christopher Mitchum are actors, as is his grandson Bentley Mitchum. His last film was James Dean: Race with Destiny (1997) with Casper Van Dien as James Dean.- Actor
- Producer
- Director
Richard Widmark established himself as an icon of American cinema with his debut in the 1947 film noir Kiss of Death (1947), in which he won a Best Supporting Actor Academy Award nomination as the killer Tommy Udo. Kiss of Death (1947) and other noir thrillers established Widmark as part of a new generation of American movie actors who became stars in the post-World War II era. With fellow post-War stars Kirk Douglas and Robert Mitchum, Widmark brought a new kind of character to the screen in his character leads and supporting parts: a hard-boiled type who does not actively court the sympathy of the audience. Widmark was not afraid to play deeply troubled, deeply conflicted, or just downright deeply corrupt characters.
After his debut, Widmark would work steadily until he retired at the age of 76 in 1990, primarily as a character lead. His stardom would peak around the time he played the U.S. prosecutor in Judgment at Nuremberg (1961) as the 1950s segued into the 1960s, but he would continue to act for another 30 years.
Richard Weedt Widmark was born in Sunrise Township, Minnesota, to Ethel Mae (Barr) and Carl Henry Widmark. His father was of Swedish descent and his mother of English and Scottish ancestry. He has said that he loved the movies from his boyhood, claiming, "I've been a movie bug since I was 4. My grandmother used to take me". The teenaged Widmark continued to go to the movies and was thrilled by Dracula (1931) and Frankenstein (1931). "I thought Boris Karloff was great", Widmark said. Although he loved the movies and excelled at public speaking while attending high school, Widmark attended Lake Forest College with the idea of becoming a lawyer. However, he won the lead role in a college production of, fittingly enough, the play "Counsellor-at-Law", and the acting bug bit deep. After taking his bachelor of arts degree in 1936, he stayed on at Lake Forest as the Assistant Director of Speech and Drama. However, he soon quit the job and moved to New York to become an actor, and by 1938 he was appearing on radio in "Aunt Jenny's Real Life Stories". He made his Broadway debut in 1943 in the play "Kiss and Tell" and continued to appear on stage in roles that were light-years away from the tough cookies he would play in his early movies.
After World War II, he was signed by 20th Century-Fox to a seven-year contract. After seeing his screen test for the role of Tommy Udo, 20th Century-Fox boss Darryl F. Zanuck insisted that the slight, blonde Widmark - no one's idea of a heavy, particularly after his stage work - be cast as the psychopath in Kiss of Death (1947), which had been prepared as a Victor Mature vehicle. Even though the role was small, Widmark stole the picture. The publicity department at 20th Century-Fox recommended that exhibitors market the film by concentrating on thumping the tub for their new antihero. "Sell Richard Widmark" advised the studio's publicity manual that an alert 20th Century-Fox sent to theater owners. The manual told local exhibitors to engage a job printer to have "wanted" posters featuring Widmark's face printed and pasted up. He won a Golden Globe and an Oscar nod for the part, which led to an early bout with typecasting at the studio. Widmark played psychotics in The Street with No Name (1948) and Road House (1948) and held his own against new Fox superstar Gregory Peck in the William A. Wellman western Yellow Sky (1948), playing the villain, of course. When his pressuring the studio to let him play other parts paid off, his appearance as a sailor in Down to the Sea in Ships (1949) made headlines: Life magazine's March 28, 1949, issue featured a three-page spread of the movie headlined "Widmark the Movie Villain Goes Straight". He was popular, having captured the public imagination, and before the decade was out, his hand- and footprints were immortalized in concrete in the court outside Grauman's Chinese Theatre in Hollywood.
The great director Elia Kazan cast Widmark in his thriller Panic in the Streets (1950), not as the heavy (that role went to Jack Palance) but as the physician who tracks down Palance, who has the plague, in tandem with detective Paul Douglas. Widmark was establishing himself as a real presence in the genre that later would be hailed as film noir. Having proved he could handle other roles, Widmark didn't shy away from playing heavies in quality pictures. The soon-to-be-blacklisted director Jules Dassin cast him in one of his greatest roles, as the penny-ante hustler Harry Fabian in Night and the City (1950). Set in London, Widmark's Fabian manages to survive in the jungle of the English demimonde, but is doomed. Widmark was masterful in conveying the desperation of the criminal seeking to control his own fate but who is damned, and this performance also became an icon of film noir. In that same year, he appeared in Oscar-winning writer-director Joseph L. Mankiewicz's No Way Out (1950) as a bigot who instigates a race riot.
As the 1950s progressed, Widmark played in westerns, military vehicles, and his old stand-by genre, the thriller. He appeared with Marilyn Monroe (this time cast as the psycho) in Don't Bother to Knock (1952) and made Pickup on South Street (1953) that same year for director Samuel Fuller. His seven-year contract at Fox was expiring, and Zanuck, who would not renew the deal, cast him in the western Broken Lance (1954) in a decidedly supporting role, billed beneath not only Spencer Tracy but even Robert Wagner and Jean Peters. The film was well respected, and it won an Oscar nomination for best screenplay for the front of Hollywood 10 blacklistee Albert Maltz. Widmark left Fox for the life of a freelance, forming his own company, Heath Productions. He appeared in more westerns, adventures and social dramas and pushed himself as an actor by taking the thankless role of the Dauphin in Otto Preminger's adaptation of George Bernard Shaw's Saint Joan (1957), a notorious flop that didn't bring anyone any honors, neither Preminger, his leading lady Jean Seberg, nor Widmark. In 1960, he was appearing in another notorious production, John Wayne's ode to suicidal patriotism, The Alamo (1960), with the personally liberal Widmark playing Jim Bowie in support of the very conservative Wayne's Davy Crockett. Along with character actor Chill Wills, Widmark arguably was the best thing in the movie.
In 1961, Widmark acquitted himself quite well as the prosecutor in producer-director Stanley Kramer's Judgment at Nuremberg (1961), appearing with the Oscar-nominated Spencer Tracy and the Oscar-winning Maximilian Schell, as well as with superstar Burt Lancaster and acting genius Montgomery Clift and the legendary Judy Garland (the latter two winning Oscar nods for their small roles). Despite being showcased with all this thespian firepower, Widmark's character proved to be the axis on which the drama turned. A little later, Widmark appeared in two westerns directed by the great John Ford, with co-star James Stewart in Two Rode Together (1961) and as the top star in Ford's apologia for Indian genocide, Cheyenne Autumn (1964). On Two Rode Together (1961), Ford feuded with Jimmy Stewart over his hat. Stewart insisted on wearing the same hat he had for a decade of highly successful westerns that had made him one of the top box office stars of the 1950s. Both he and Widmark were hard-of-hearing (as well as balding and in need of help from the makeup department's wigmakers), so Ford would sit far away from them while directing scenes and then give them directions in a barely audible voice. When neither one of the stars could hear their director, Ford theatrically announced to his crew that after over 40 years in the business, he was reduced to directing two deaf toupees. It was testimony to the stature of both Stewart and Widmark as stars that this was as far as Ford's baiting went, as the great director could be extraordinarily cruel.
Widmark continued to co-star in A-pictures through the 1960s. He capped off the decade with one of his finest performances, as the amoral police detective in Don Siegel's gritty cop melodrama Madigan (1968). With Madigan, one can see Widmark's characters as a progression in the evolution of what would become the late 1960s nihilistic antihero, such as those embodied by Clint Eastwood in Siegel's later Dirty Harry (1971). In the 1970s, he continued to make his mark in movies and, beginning in 1971, in television. In movies, he appeared primarily in supporting roles, albeit in highly billed fashion, in such films as Sidney Lumet's Murder on the Orient Express (1974), Robert Aldrich's Twilight's Last Gleaming (1977), and Stanley Kramer's The Domino Principle (1977). He even came back as a heavy, playing the villainous doctor in Coma (1978).
In 1971, in search of better roles, he turned to television, starring as the President of the U.S. in the TV miniseries Vanished (1971). His performance in the role brought Widmark an Emmy nomination. He resurrected the character of Madigan for NBC in six 90-minute episodes that appeared as part of the rotation of "NBC Wednesday Mystery Movie" for the fall 1972 season. Widmark was married for 55 years to playwright Jean Hazlewood, from 1942 until her death in 1997 (they had one child, Anne, who was born in 1945). He lived quietly and avoided the press, saying in 1971, "I think a performer should do his work and then shut up". Los Angeles Times critic Kevin Thomas thought that Widmark should have won an Oscar nomination for his turn in When the Legends Die (1972) playing a former rodeo star tutoring Frederic Forrest's character.
It is surprising to think that Kiss of Death (1947) represented his sole Oscar nomination, but with the rise of respect for film noir around the time his career began tapering off in the '70s, he began to be reevaluated as an actor. Unlike Bogart, who did not live to see his reputation flourish after his death, Widmark became a cult figure well before he retired.- Actress
- Producer
- Soundtrack
Rita Hayworth was born Margarita Carmen Cansino on October 17, 1918, in Brooklyn, New York, into a family of dancers. Her father, Eduardo Cansino Reina, was a dancer as was his father before him. He emigrated from Spain in 1913. Rita's American mother, Volga Margaret (Hayworth), who was of mostly Irish descent, met Eduardo in 1916 and were married the following year. Rita, herself, studied as a dancer in order to follow in her family's footsteps. She joined her family on stage when she was eight years old when her family was filmed in a movie called La Fiesta (1926). It was her first film appearance, albeit an uncredited one. Sotted by Fox studio head Winfield R. Sheehan, she signed her first studio contract, and make her film debut at age sixteen, in Dante's Inferno (1935), followed by Cruz Diablo (1934). She continued to play small bit parts in several films under the name of "Rita Cansino". Fox dropped her after five small roles, but expert, exploitative promotion by her first husband Edward Judson soon brought Rita a new contract at Columbia Pictures, where studio head Harry Cohn changed her surname to Hayworth and approved raising her hairline by electrolysis. She played the second female lead, Judy McPherson, in Only Angels Have Wings (1939). After thirteen minor roles, Columbia lent her to Warner Bros. for her first big success, The Strawberry Blonde (1941); her splendid dancing with Fred Astaire in You'll Never Get Rich (1941) made her a star. This was the film that exuded the warmth and seductive vitality that was to make her famous. Her natural, raw beauty was showcased later that year in Blood and Sand (1941), filmed in Technicolor.
Rita was probably the second most popular actress after Betty Grable. In You'll Never Get Rich (1941) with Fred Astaire, was probably the film that moviegoers felt close to Rita. Her dancing, for which she had studied all her life, was astounding. After the hit Gilda (1946) (her dancing had made the film and it had made her), her career was on the skids. Although she was still making movies, they never approached her earlier success. The drought began between The Lady from Shanghai (1947) and Champagne Safari (1954). Then after Salome (1953), she was not seen again until Pal Joey (1957). Part of the reasons for the downward spiral was television, but also Rita had been replaced by a new star at Columbia, Kim Novak.
Rita, herself, said, "Men fell in love with Gilda, but they wake up with me". In person, Rita was shy, quiet and unassuming; only when the cameras rolled did she turn on the explosive sexual charisma that in Gilda (1946) made her a superstar. To Rita, though, domestic bliss was a more important, if elusive, goal, and in 1949 she interrupted her career for marriage - unfortunately an unhappy one almost from the start - to the playboy Prince Aly Khan. Her films after her divorce from Khan include perhaps her best straight acting performances, Miss Sadie Thompson (1953) and They Came to Cordura (1959).
After a few, rather forgettable films in the 1960s, her career was essentially over. Her final film was The Wrath of God (1972). Her career was really never the same after Gilda (1946). Perhaps Gene Ringgold said it best when he remarked, "Rita Hayworth is not an actress of great depth. She was a dancer, a glamorous personality, and a sex symbol. These qualities are such that they can carry her no further professionally." Perhaps he was right but Hayworth fans would vehemently disagree with him.
Beginning in 1960 (age 42), early onset of Alzheimer's disease (undiagnosed until 1980) limited Rita's ability. The last few roles in her 60-film career were increasingly small. With 20 years of symptoms, Rita was cared for by her daughter, Yasmin Khan, until Rita's death at age 68 on May 14, 1987, in New York City.- Actor
- Producer
- Soundtrack
Legendary actor Glenn Ford was born Gwyllyn Samuel Newton Ford in Sainte-Christine-d'Auvergne, Quebec, Canada, to Hannah Wood (Mitchell) and Newton Ford, a railroad executive. His family moved to Santa Monica, California when he was eight years old. His acting career began with plays at high school, followed by acting in West Coast, a traveling theater company.
Ford was discovered in 1939 by Tom Moore, a talent scout for 20th Century Fox. He subsequently signed a contract with Columbia Pictures the same year. Ford's contract with Columbia marked a significant departure in that studio's successful business model. Columbia's boss, Harry Cohn, had spent decades observing other studios'-most notably Warner Brothers-troubles with their contract stars and had built his poverty-row studio around their loan-outs. Basically, major studios would use Columbia as a penalty box for unruly behavior-usually salary demands or work refusals. The cunning Cohn usually assigned these stars (his little studio could not normally afford then) into pictures, and the studio's status rose immensely as the 1930s progressed. Understandably, Cohn had long resisted developing his own stable of contract stars (he'd first hired Peter Lorre in 1934 but didn't know what to do with him) but had relented in the late 1930s, first adding Rosalind Russell, then signing Ford and fellow newcomer William Holden. Cohn reasoned that the two prospects could be used interchangeably, should one become troublesome. Although often competing for the same parts, Ford and Holden became good friends. Their careers would roughly parallel each other through the 1940s, until Holden became a superstar through his remarkable association with director Billy Wilder in the 1950s.
Ford made his official debut in Fox's Heaven with a Barbed Wire Fence (1939), and continued working in various small roles throughout the 1940s until his movie career was interrupted to join the Marines in World War II. Ford continued his military career in the Naval Reserve well into the Vietnam War, achieving the rank of captain. In 1943 Ford married legendary tap dancer Eleanor Powell, and had one son, Peter Ford. Like many actors returning to Hollywood after the war (including James Stewart and Holden (who had already acquired a serious alcohol problem), he found it initially difficult to regain his career momentum. He was able to resume his movie career with the help of Bette Davis, who gave him his first postwar break in the 1946 movie A Stolen Life (1946). However, it was not until his acclaimed performance in a 1946 classic film noir, Gilda (1946), with Rita Hayworth, that he became a major star and one of the the most popular actors of his time. He scored big with the film noir classics The Big Heat (1953) and Blackboard Jungle (1955), and was usually been cast as a calm and collected everyday-hero, showing courage under pressure. Ford continued to make many notable films during his prestigious 50-year movie career, but he is best known for his fine westerns such as 3:10 to Yuma (1957) and The Rounders (1965). Ford pulled a hugely entertaining turn in The Sheepman (1958) and many more fine films. In the 1970s, Ford made his television debut in the controversial The Brotherhood of the Bell (1970) and appeared in two fondly remembered television series: Cade's County (1971) and The Family Holvak (1975). During the 1980s and 1990s, Ford limited his appearance to documentaries and occasional films, including a nice cameo in Superman (1978).
Glenn Ford is remembered fondly by his fans for his more than 100 excellent films and his charismatic silver screen presence.- Actress
- Director
- Writer
Ida was born in London to a show business family. In 1932, her mother took Ida with her to an audition and Ida got the part her mother wanted. The picture was Her First Affaire (1932). Ida, a bleached blonde, went to Hollywood in 1934 playing small, insignificant parts. Peter Ibbetson (1935) was one of her few noteworthy movies and it was not until The Light That Failed (1939) that she got a chance to get better parts. In most of her movies, she was cast as the hard, but sympathetic woman from the wrong side of the tracks. In The Sea Wolf (1941) and High Sierra (1940), she played the part magnificently. It has been said that no one could do hard-luck dames the way Lupino could do them. She played tough, knowing characters who held their own against some of the biggest leading men of the day - Humphrey Bogart, Ronald Colman, John Garfield and Edward G. Robinson. She made a handful of films during the forties playing different characters ranging from Pillow to Post (1945), where she played a traveling saleswoman to the tough nightclub singer in The Man I Love (1946). But good roles for women were hard to get and there were many young actresses and established stars competing for those roles. She left Warner Brothers in 1947 and became a freelance actress. When better roles did not materialize, Ida stepped behind the camera as a director, writer and producer. Her first directing job came when director Elmer Clifton fell ill on a script that she co-wrote Not Wanted (1949). Ida had joked that as an actress, she was the poor man's Bette Davis. Now, she said that as a director, she became the poor man's Don Siegel. The films that she wrote, or directed, or appeared in during the fifties were mostly inexpensive melodramas. She later turned to television where she directed episodes in shows such as The Untouchables (1959) and The Fugitive (1963). In the seventies, she made guest appearances on various television show and appeared in small parts in a few movies.- Actress
- Producer
- Soundtrack
Veronica Lake was born as Constance Frances Marie Ockleman on November 14, 1922, in Brooklyn, New York. She was the daughter of Constance Charlotta (Trimble) and Harry Eugene Ockelman, who worked for an oil company as a ship employee. Her father was of half German and half Irish descent, and her mother was of Irish ancestry. While still a child, Veronica's parents moved to Florida when she was not quite a year old. By the time she was five, the family had returned to Brooklyn. When Connie was only twelve, tragedy struck when her father died in an explosion on an oil ship. One year later her mother married Anthony Keane and Connie took his last name as her own. In 1934, when her stepfather was diagnosed with tuberculosis, the family moved to Saranac Lake, where Connie Keane enjoyed the outdoor life and flourished in the activities of boating on the lakes, skating, skiing, swimming, biking around Moody Pond and hiking up Mt Baker. The family made their home in 1935 at 1 Watson Place, (now 27 Seneca Street) then they moved to 1 Riverside Drive,(now Lake Kiwassa Road). Both Connie and Anthony benefited from the Adirondack experience and in 1936 the family left the Adirondacks and moved to Miami, FL., however, the memories of those carefree Saranac Lake days would always remain deeply rooted in her mind.
Two years later, Connie graduated from high school in Miami. Her natural beauty and charm and a definite talent for acting prompted her mother and step-father to move to Beverly Hills, California, where they enrolled her in the well known Bliss Hayden School of Acting in Hollywood. Connie had previously been diagnosed as a classic schizophrenic and her parents saw acting as a form of treatment for her condition. She showed remarkable abilities and did not have to wait long for a part to come her way.
Her first movie was as one of the many coeds in the RKO film, Sorority House (1939). It was a minor part, to be sure, but it was a start. Veronica quickly followed up that project with two other films. All Women Have Secrets (1939) and Dancing Co-Ed (1939), were again bit roles for the pretty young woman from the East Coast, but she did not complain. After all, other would-be starlets took a while before they ever received a bit part. Veronica continued her schooling, while taking a bit roles in two more films, Young as You Feel (1940) and Forty Little Mothers (1940). Prior to this time, she was still under her natural name of Constance Keane. Now, with a better role in I Wanted Wings (1941), she was asked to change her name, and Veronica Lake was born. Now, instead of playing coeds, she had a decent, speaking part. Veronica felt like an actress. The film was a success and the public loved this bright newcomer.
Paramount, the studio she was under contract with, then assigned her to two more films that year, Hold Back the Dawn (1941) and Sullivan's Travels (1941). The latter received good reviews from the always tough film critics. As Ellen Graham, in This Gun for Hire (1942) the following year, Veronica now had top billing. She had paid her dues and was on a roll. The public was enamored with her. In 1943, Veronica starred in only one film. She portrayed Lieutenant Olivia D'Arcy in So Proudly We Hail! (1943) with Claudette Colbert. The film was a box-office smash. It seemed that any film Veronica starred in would be an unquestionable hit. However, her only outing for 1944, The Hour Before the Dawn (1944) would not be well-received by either the public or the critics. As Nazi sympathizer Dora Bruckmann, Veronica's role was dismal at best. Critics disliked her accent immensely because it wasn't true to life. Her acting itself suffered because of the accent. Mediocre films trailed her for all of 1945. It seemed that Veronica was dumped in just about any film to see if it could be salvaged. Hold That Blonde! (1945), Out of This World (1945), and Miss Susie Slagle's (1946) were just a waste of talent for the beautiful blonde. The latter film was a shade better than the previous two. In 1946, Veronica bounced back in The Blue Dahlia (1946) with Alan Ladd and Howard Da Silva. The film was a hit, but it was the last decent film for Veronica. Paramount continued to put her in pathetic movies. After 1948, Paramount discharged the once prized star, and she was out on her own. In 1949, she starred in the Twentieth Century film Slattery's Hurricane (1949), which, unfortunately, was another weak film. She was not on the big screen again until 1952 when she appeared in Stronghold (1951). By Veronica's own admission, the film "was a dog". From 1952 to 1966, Veronica made television appearances and even tried her hand on the stage. Not a lot of success for her at all. By now alcohol was the order of the day. She was down on her luck and drank heavily. In 1962, Veronica was found living in an old hotel and working as a bartender. She finally returned to the big screen in Footsteps in the Snow (1966). Another drought ensued and she appeared on the silver screen for the last time in Flesh Feast (1970) - a very low budget film.
On July 7, 1973, Veronica died of hepatitis in Burlington, Vermont. The beautiful actress with the long blonde hair was dead at the age of 50.- Actress
- Soundtrack
One of the saddest tales ever to come out of Hollywood has to be that of Barbara Payton. A blue-eyed, peroxide blonde sexpot who had a lot going for her, her life eventually disintegrated, mostly by her own doing. Things started out well enough for Barbara Lee Redfield, born on November 26, 1927, in Cloquet, Minnesota. From a modest, blue-collar background, she grew up to be a drop-dead gorgeous young woman and, following a quickie marriage at age 19, decided to leave home for good to try to capitalize on her good looks in Tinseltown. She headed for Hollywood in 1948 and, within a short time, was placed under contract by Universal, where she began the typical starlet route of bit parts. She reached her peak with routine but promising co-star work opposite James Cagney in Kiss Tomorrow Goodbye (1950), Gary Cooper in Dallas (1950) and Gregory Peck in Only the Valiant (1951). Although her talent was overshadowed by her brassiness and looks, her slightly lurid appeal seemed to be enough to carry her through. Caught up in the glitz and glamour, however, her career started taking second place to a reckless life full of capricious romances involving a number of top stars and producers, many of them married. One of her more famous trysts ended up making headlines for her, and none of them favorable. She was juggling two boyfriends at the same time, classy "A" actor Franchot Tone and muscular "B" actor Tom Neal, and they fought almost to the death for Barbara's affections. On September 13, 1951, the men engaged in a deadly brawl and when it was over, Tone was in the hospital with broken bones and a brain concussion. Barbara ended up with both a black eye and a tarnished reputation. She married Tone after he recovered, but left him after only seven weeks and returned to the violence-prone Neal. That abusive relationship lasted four years, though they never married. During that time Barbara's career had plummeted to the point where she was making such dismal features as Bride of the Gorilla (1951). She went to England to try to rejuvenate her career, but no dice; it was over and her life was skidding out of control. Her once beautiful face now blotchy and her once spectacular figure now bloated, Barbara sank deeper into the bottle. From 1955 to 1963 there were various brushes with the law - among them passing bad checks, public drunkenness and, ultimately, prostitution. She was forced to sleep on bus benches, was beaten and bruised by her tricks, and lost teeth in the process. In 1967, after failed efforts to curb her drinking, she finally moved in with her parents in San Diego to try to dry out. It was too late. On May 8, 1967, the 39-year-old former starlet was found on the bathroom floor - dead of heart and liver failure. Somehow through all this misery she managed a tell-all book ironically entitled "I Am Not Ashamed" (1963).- Actor
- Director
- Producer
One of Hollywood's preeminent male stars of all time, James Cagney was also an accomplished dancer and easily played light comedy. James Francis Cagney was born on the Lower East Side of Manhattan in New York City, to Carolyn (Nelson) and James Francis Cagney, Sr., who was a bartender and amateur boxer. Cagney was of Norwegian (from his maternal grandfather) and Irish descent. Ending three decades on the screen, he retired to his farm in Stanfordville, New York (some 77 miles/124 km. north of his New York City birthplace), after starring in Billy Wilder's One, Two, Three (1961). He emerged from retirement to star in the 1981 screen adaptation of E.L. Doctorow's novel "Ragtime" (Ragtime (1981)), in which he was reunited with his frequent co-star of the 1930s, Pat O'Brien, and which was his last theatrical film and O'Brien's as well). Cagney's final performance came in the title role of the made-for-TV movie Terrible Joe Moran (1984), in which he played opposite Art Carney.- Actor
- Writer
- Soundtrack
Emanuel Goldenberg arrived in the United States from Romania at age ten, and his family moved into New York's Lower East Side. He took up acting while attending City College, abandoning plans to become a rabbi or lawyer. The American Academy of Dramatic Arts awarded him a scholarship, and he began work in stock, with his new name, Edward G. Robinson (the "G" stood for his birth surname), in 1913. Broadway was two years later; he worked steadily there for 15 years. His work included "The Kibitzer", a comedy he co-wrote with Jo Swerling. His film debut was a small supporting part in the silent The Bright Shawl (1923), but it was with the coming of sound that he hit his stride. His stellar performance as snarling, murderous thug Rico Bandello in Little Caesar (1931)--all the more impressive since in real life Robinson was a sophisticated, cultured man with a passion for fine art--set the standard for movie gangsters, both for himself in many later films and for the industry. He portrayed the title character in several biographical works, such as Dr. Ehrlich's Magic Bullet (1940) and A Dispatch from Reuters (1940). Psychological dramas included Flesh and Fantasy (1943), Double Indemnity (1944), The Woman in the Window (1944)and Scarlet Street (1945). Another notable gangster role was in Key Largo (1948). He was "absolved" of allegations of Communist affiliation after testifying as a friendly witness for the House Un-American Activities Committee during the McCarthy hysteria of the early 1950s. In 1956 he had to sell off his extensive art collection in a divorce settlement and also had to deal with a psychologically troubled son. In 1956 he returned to Broadway in "Middle of the Night". In 1973 he was awarded a special, posthumous Oscar for lifetime achievement.