The Best Actresses and Actors - Born in the 1920s
Points from my "The Best Films Ever Made"-Lists:
Vol. 1 = 100%, Vol. 2 = 50%, Vol. 3 = 33%, Vol. 4 = 25%, Vol. 5 = 20 %, Vol. 6 = 17%
Vol. 1 = 100%, Vol. 2 = 50%, Vol. 3 = 33%, Vol. 4 = 25%, Vol. 5 = 20 %, Vol. 6 = 17%
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Marcello Mastroianni was born in Fontana Liri, Italy in 1924, but soon his family moved to Turin and then Rome. During WW2 he was sent to a German prison camp, but he managed to escape and hide in Venice. He debuted in films as an extra in Marionette (1939), then started working for the Italian department of "Eagle Lion Films" in Rome and joined a drama club, where he was discovered by director Luchino Visconti. In 1957 Visconti gave him the starring part in his Fyodor Dostoevsky adaptation White Nights (1957) and in 1958 he was fine as a little thief in Mario Monicelli's comedy Big Deal on Madonna Street (1958). But his real breakthrough came in 1960, when Federico Fellini cast him as an attractive, weary-eyed journalist of the Rome jet-set in La Dolce Vita (1960); that film was the genesis of his "Latin lover" persona, which Mastroianni himself often denied by accepting parts of passive and sensitive men. He would again work with Fellini in several major films, like the exquisite 8½ (1963) (as a movie director who finds himself at a point of crisis) and the touching Ginger & Fred (1986) (as an old entertainer who appears in a TV show). He also appeared as a tired novelist with marital problems in Michelangelo Antonioni's La Notte (1961), as an impotent young man in Mauro Bolognini's Bell' Antonio (1960) , as an exiled prince in John Boorman's Leo the Last (1970), as a traitor in Paolo and Vittorio Taviani's Allonsanfan (1974) and as a sensitive homosexual in love with a housewife in Ettore Scola's A Special Day (1977). He was nominated for the Academy Award for Best Actor three times, for Divorce Italian Style (1961), A Special Day (1977), and Oci ciornie (1987). During the last decade of his life he worked with directors, like Theodoros Angelopoulos, Bertrand Blier and Raúl Ruiz, who gave him three excellent parts in Three Lives and Only One Death (1996). He died of pancreatic cancer in 1996.11279 points- Actor
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Max von Sydow was born Carl Adolf von Sydow on April 10, 1929 in Lund, Skåne, Sweden, to a middle-class family. He was the son of Baroness Maria Margareta (Rappe), a teacher, and Carl Wilhelm von Sydow, an ethnologist and folklore professor. His surname traces back to his partial German ancestry.
When he was in high school, he and a few fellow students, including Yvonne Lombard, started a theatre club which encouraged his interest in acting. After conscription, he began to study at the Royal Dramatic Theatre's acting school (1948-1951), together with Lars Ekborg, Margaretha Krook and Ingrid Thulin. His first role was as Nils the crofter in Alf Sjöberg's Only a Mother (1949). After graduation, he worked at the city theatres in Norrköping and Malmö.
His work in the movies by Ingmar Bergman (especially The Seventh Seal (1957), including the iconic scenes in which he plays chess with Death) made him well-known internationally, and he started to get offers from abroad. His career abroad began with him playing Jesus in The Greatest Story Ever Told (1965); Hawaii (1966) and The Quiller Memorandum (1966). Since then, his career includes very different kind of characters, like Karl Oskar Nilsson in The Emigrants (1971); Father Lankester Merrin in The Exorcist (1973); Joubert the assassin in Three Days of the Condor (1975), Emperor Ming in Flash Gordon (1980); the villain Ernst Stavro Blofeld in the Never Say Never Again (1983); Liet-Kynes in Dune (1984) the artist Frederick in Hannah and Her Sisters (1986); Lassefar in Pelle the Conqueror (1987), for which he received his first Academy Award nomination; Dr. Peter Ingham in Awakenings (1990); Lamar Burgess in Minority Report (2002) and The Renter in Extremely Loud & Incredibly Close (2011), which earned him his second Academy Award nomination.
He became one of Sweden's most admired and professional actors, and is the only male Swedish actor to receive an Oscar nomination. He was nominated twice: for Pelle the Conqueror (1987) in 1988 and for Extremely Loud & Incredibly Close (2011) in 2012. He received the Guldbagge Award for Best Director in his directing debut, the drama film Ved vejen (1988). In 2016, he joined the sixth season of the HBO series Game of Thrones (2011) as the Three-eyed Raven, which earned him his Primetime Emmy Award nomination.
Max von Sydow died on March 8, 2020, in Provence, France, and was survived by his wife Catherine Brelet and four children. He was 90.10041 points- Actor
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Toshiro Mifune achieved more worldwide fame than any other Japanese actor of his century. He was born in Tsingtao, China, to Japanese parents and grew up in Dalian. He did not set foot in Japan until he was 21. His father was an importer and a commercial photographer, and young Toshiro worked in his father's studio for a time after graduating from Dalian Middle School. He was automatically drafted into the Japanese army when he turned 20, and enlisted in the Air Force where he was attached to the Aerial Photography Unit for the duration of the World War II. In 1947 he took a test for Kajirô Yamamoto, who recommended him to director Senkichi Taniguchi, thus leading to Mifune's first film role in These Foolish Times II (1947). Mifune then met and bonded with director Akira Kurosawa, and the two joined to become the most prominent actor-director pairing in all Japanese cinema. Beginning with Drunken Angel (1948), Mifune appeared in 16 of Kurosawa's films, most of which have become world-renowned classics. In Kurosawa's pictures, especially Rashomon (1950), Mifune would become the most famous Japanese actor in the world. A dynamic and ferocious actor, he excelled in action roles, but also had the depth to plumb intricate and subtle dramatic parts. A personal rift during the filming of Red Beard (1965) ended the Mifune-Kurosawa collaboration, but Mifune continued to perform leading roles in major films both in Japan and in foreign countries. He was twice named Best Actor at the Venice Film Festival (for Yojimbo (1961) and Red Beard (1965)). In 1963 he formed his own production company, directing one film and producing several others. In his later years he gained new fame in the title role of the American TV miniseries Shogun (1980), and appeared infrequently in cameo roles after that. His last years were plagued with Alzheimer's Syndrome and he died of organ failure in 1997, a few months before the death of the director with whose name he will forever be linked, Akira Kurosawa.8976 points- Actor
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This suave, elegant character star was a ubiquitous presence in French cinema for nearly seven decades. His distinguished career extended to both stage and screen and his versatility was such that he could take on just about any persona (in his own words: "I do not put on an act... I slip away behind my characters"), from police inspectors to gangsters, from priests and academics to King Louis XVI and the Marquis de Sade. More than a few of his portrayals were of ordinary bourgeois caught up in difficult circumstances or undergoing mid-life crisis. However, Piccoli truly excelled in sardonic, cynical or morally ambiguous roles - playing smooth, quietly-spoken types harbouring dark passions or sinister secrets. His directors have included a veritable who's who of European film makers: Luis Buñuel (six times), Claude Sautet (five times), Alfred Hitchcock (who cast him as Jacques Granville, the principal antagonist in Topaz (1969)), Jean-Pierre Melville, Louis Malle, Alain Resnais, and Jean-Luc Godard.
Piccoli was born in Paris on December 27 1925. His parents were both musicians: his father a Swiss-born violinist, his mother a French pianist. He made his screen debut at 19, for a number of years confined to small supporting roles. Becoming actively involved in left-wing politics, Piccoli joined the Saint-Germain-des-Prés social set, headquartered at the Tabou club and comprising intellectuals and artists whose adherents included the philosophers Simone de Beauvoir and Jean-Paul Sartre, as well as the chanson and cabaret singer Juliette Gréco (to whom Piccoli was married from 1966 to 1976). His career took off in the early 60s and he enjoyed his first major success as Brigitte Bardot's husband in Godard's Contempt (1963). Luis Bunuel also recognized Piccoli's potential and employed his trademark cerebral eloquence on pivotal parts in important films like Diary of a Chambermaid (1964), Belle de Jour (1967) and The Discreet Charm of the Bourgeoisie (1972). In 1973, Piccoli formed his own production company, Films 66, which allowed him even greater freedom in selecting his roles. He continued to work steadily, retaining his huge popularity with French audiences throughout the 80s and 90s. Though nominated four times, he never won the coveted Cesar Award. However, his many other accolades included a win as best actor at Cannes in 1980 and two German Film Awards (in 1988 and 1992). He also directed three feature films, one of which, Alors voilà, (1997), won the Bastone Bianco critical award at the Venice Film Festival.7939 points- Actor
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Jack Lemmon was born in Newton, Massachusetts, to Mildred Lankford Noel and John Uhler Lemmon, Jr., the president of a doughnut company. His ancestry included Irish (from his paternal grandmother) and English. Jack attended Ward Elementary near his Newton, MA home. At age 9 he was sent to Rivers Country Day School, then located in nearby Brookline. After RCDS, he went to high school at Phillips Andover Academy. Jack was a member of the Harvard class of 1947, where he was in Navy ROTC and the Dramatic Club. After service as a Navy ensign, he worked in a beer hall (playing piano), on radio, off Broadway, TV and Broadway. His movie debut was with Judy Holliday in It Should Happen to You (1954). He won Best Supporting Actor as Ensign Pulver in Mister Roberts (1955). He received nominations in comedy (Some Like It Hot (1959), The Apartment (1960)) and drama (Days of Wine and Roses (1962), The China Syndrome (1979), Tribute (1980) and Missing (1982)). He won the Best Actor Oscar for Save the Tiger (1973) and the Cannes Best Actor award for "Syndrome" and "Missing". He made his debut as a director with Kotch (1971) and in 1985 on Broadway in "Long Day's Journey into Night". In 1988 he received the Life Achievement Award of the American Film Institute.7544 points- Actress
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When people gave Louis Malle credit for making a star of Jeanne Moreau in Elevator to the Gallows (1958) immediately followed by The Lovers (1958), he would point out that Moreau by that time had already been "recognized as the prime stage actress of her generation." She had made it to the Comédie Française in her 20s. She had appeared in B-movie thrillers with Jean Gabin and Ascenseur was in that genre. The technicians at the film lab went to the producer after seeing the first week of dailies for Ascenseur and said: "You must not let Malle destroy Jeanne Moreau". Malle explained: "She was lit only by the windows of the Champs Elysées. That had never been done. Cameramen would have forced her to wear a lot of make-up and they would put a lot of light on her, because, supposedly, her face was not photogenic". This lack of artifice revealed Moreau's "essential qualities: she could be almost ugly and then ten seconds later she would turn her face and would be incredibly attractive. But she would be herself".
Moreau has told interviewers that the characters she played were not her. But even the most famous film critic of his generation, Roger Ebert, thinks that she is a lot like her most enduring role, Catherine in François Truffaut's Jules and Jim (1962). Behind those eyes and that enigmatic smile is a woman with a mind. In a review of The Clothes in the Wardrobe (1993) Ebert wrote: "Jeanne Moreau has been a treasure of the movies for 35 years... Here, playing a flamboyant woman who nevertheless keeps her real thoughts closely guarded, she brings about a final scene of poetic justice as perfect as it is unexpected".
Moreau made her debut as a director in Lumiere (1976) -- also writing the script and playing Sarah, an actress the same age as Moreau whose romances are often with directors for the duration of making a film. She made several films with Malle.
Still active in international cinema, Moreau presided over the jury of the 1995 Cannes Film Festival.7041 points- Actor
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Yves Montand was born on 13 October 1921 in Monsummano Terme, Tuscany, Italy. He was an actor, known for Jean de Florette (1986), Z (1969) and The Wages of Fear (1953). He was married to Simone Signoret. He died on 9 November 1991 in Senlis, Oise, France.6718 points- The face of Simone Signoret on the Paris Metro movie posters in March 1982 looked even older than her 61 years. She was still a box-office draw, but the film L'étoile du Nord (1982) would be her last theatrical release; she played the landlady. Signoret had a long film apprenticeship during World War II, mostly as an extra and occasionally getting to speak a single line. She worked without an official permit during the Nazi occupation of France because her father, who had fled to England, was Jewish. Working almost all the time, she made enough as an extra to support her mother and three younger brothers. Her breakthrough to international stardom came when she was 38 with the British film Room at the Top (1958). Her Alice Aisgill, an unhappily-married woman who hopes she has found true love, radiated real warmth in all of her scenes--not just the bedroom scenes. She was the same woman as Dedee, a prostitute who finds true love in Dédée d'Anvers (1948), a film directed by Signoret's first husband, Yves Allégret, a decade earlier. Hollywood beckoned throughout the 1950s, but both Signoret and her second husband, Yves Montand, were refused visas to enter the United States; their progressive political activities did not sit well with the ultra-conservative McCarthy-era mentality that gripped the US at the time. They got visas in 1960 so Montand, a singer, could perform in New York and San Francisco. They were in Los Angeles in March 1960 when Signoret received the Oscar for best actress and stayed on so Montand could play opposite Marilyn Monroe in Let's Make Love (1960). The Signoret film that is shown most often on TV and got a theatrical re-release in 1995, four decades after it was made is the French thriller Diabolique (1955). The chilly character Signoret plays is proof of her acting ability. More typical of her person is the countess in Ship of Fools (1965), a film that also starred Vivien Leigh ,which more than doubled its chances of being in a video-store or library film collection.5936 points
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Setsuko Hara became one of Japan's best-loved stars over her 30-year film career. Her signature character type, variations on a daughter devoted to her parents and home, inspired the nickname that stayed with her until retirement: the Eternal Virgin. To some extent, reality mirrored her roles in these films. In a society that considers marriage and parenting almost obligatory, she remained single and childless, something of a controversy in Japan in the 1950s. Fortunately she was popular enough to avoid criticism, but the 1950s were still a hard decade. She was plagued by ill health, missing out on several top roles as a result, and she witnessed the death of her camera-man brother in a freak train accident on set.
In 1963, shortly after the death of her mentor, director Yasujirô Ozu, she suddenly walked away from the film industry. At age 43, and at the height of her popularity, she bluntly refused to perform again, angering her fans, the industry, and the press. She implied acting had never been a pleasure and that she had only pursued a career in order to provide for her large family; this explanation is seen as the cause of her popularity backlash. She moved to a small house in picturesque Kamakura where she remained, living alone (though apparently sociable with friends), and refusing all roles offered.
She is undoubtedly known mostly for her work with Yasujiro Ozu, making six films with the great director, including the so-called Noriko trilogy, of which Tokyo Story (1953) is probably the best-known. She also worked with Akira Kurosawa, Mikio Naruse, Hiroshi Inagaki, and many others.5473 points- Actress
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Shelley Winters was born Shirley Schrift of very humble beginnings on August 18, 1920 (some sources list 1922) in East St. Louis, Illinois. Her mother, Rose Winter, was born in Missouri, to Austrian Jewish parents, and her father, Jonas Schrift, was an Austrian Jewish immigrant. She had one sibling, a sister, Blanche. Her father moved the family to Brooklyn when she was still young so that he, a tailor's cutter, could find steadier work closer to the city's garment industry. An unfailing interest in acting began quite early for Shelley, and she appeared in high school plays. By her mid- to late teens she had already been employed as a Woolworth's store clerk, model, borscht belt vaudevillian and nightclub chorine, all in order to pay for her acting classes. During a nationwide search in 1939 for GWTW's Scarlett O'Hara, Shelley was advised by auditioning director George Cukor to get acting lessons, which she did. Apprenticing in summer stock, she made her Broadway debut in the short-lived comedy "The Night Before Christmas" in 1941 and followed it with the operetta "Rosalinda" (1942) initially billing herself in both shows as Shelley Winter (without the "s").
Within a short time, Shelley pushed ahead for a career out west. Hollywood proved to be a tough road. Toiling in bit roles for years, many of her scenes were excised altogether during her early days. Obscurely used in such movies as What a Woman! (1943), The Racket Man (1944), Cover Girl (1944) and Tonight and Every Night (1945), her breakthrough did not occur until 1947, and it happened on both the stage and big screen. Not only did she win the replacement role of Ado Annie Carnes in "Oklahoma!" on Broadway but, around the same time, scored excellent notices on film as the party girl waitress who ends up a victim of deranged strangler (and Oscar winner) Ronald Colman in the critically-hailed A Double Life (1947) directed by Cukor. From this moment, she achieved a somewhat earthy film stardom, playing second-lead broads who often met untimely ends (as in Cry of the City (1948) and The Great Gatsby (1949)), or tawdry-black-stockinged and feather-boa-adorned leads, as in South Sea Sinner (1950) in which her eclectic co-stars included Macdonald Carey and Liberace!
As a tarnished glamour girl and symbol of working-class vulgarity in Hollywood, Shelley was about to be written off in pictures altogether when one of her finest movie roles arrived on her front porch. Her best hard luck girl storyboard showed up in the form of depressed, frumpy-looking Alice Tripp, a factory girl seduced and abandoned by wanderlust Montgomery Clift in A Place in the Sun (1951). Favoring gorgeous society girl Elizabeth Taylor who is totally out of his league, Clift is subsequently blackmailed by Winters' pathetic (and now pregnant) character into marrying her. For her desperate efforts, she is purposely drowned by Clift after he tips their canoe. The role, which garnered Shelley her first Oscar nomination, finally plucked her out of the sordid starlet pool she was treading and into the ranks of serious femme star contenders. But not for long.
Winters just couldn't escape the lurid bottle-blonde quality she instilled in her characters. During what should have been her peak time in films were a host of badly-scripted "B" films. The obvious, two-dimensional chorines, barflies, floozies and gold diggers she played in Behave Yourself! (1951), Frenchie (1950), Phone Call from a Stranger (1952), Playgirl (1954), and also Mambo (1954), in which co-starred second husband Vittorio Gassman, pretty much said it all. She grew extremely disenchanted and decided to return to dramatic study. Earning membership into the famed Actors' Studio, she went to Broadway and earned kudos, thereby reestablishing her reputation as a strong actress with the drug-themed play "A Hatful of Rain" (1955). Co-starring in the show was the up-and-coming Anthony Franciosa, who became her third husband in 1957. Her renewed dedication to pursuing quality work was shown by her appearances in a number of heavyweight theater roles including Blanche in "A Streetcar Named Desire" (1955). In later years, the Actors' Studio enthusiast became one of its most respected coaches, shaping up a number of today's fine talents with the Strasberg "method" technique.
By the late 1950s, she had started growing in girth and wisely eased into colorful character supports. The switch paid off. After a sterling performance as the ill-fated wife of sadistic killer Robert Mitchum in Charles Laughton's The Night of the Hunter (1955), she scored big in the Oscar department when she won "Best Supporting Actress" for the shrill and hypertensive but doomed Mrs. Van Daan in The Diary of Anne Frank (1959). From this period sprouted a host of revoltingly bad mamas, blowsy matrons, and trashy madams in such film fare as Lolita (1962), The Chapman Report (1962), The Balcony (1963) Wives and Lovers (1963), and A House Is Not a Home (1964). She topped things off as the abusive prostitute mom in A Patch of Blue (1965) who was not above pimping her own blind daughter (the late Elizabeth Hartman) for household money. The actress managed to place a second Oscar on her mantle for this riveting support work.
With advancing age and increasing size, she found a comfortable niche in the harping Jewish wife/mother category with loud, flashy, unsubtle roles in Enter Laughing (1967), Next Stop, Greenwich Village (1976) and, most notably, The Poseidon Adventure (1972). She earned another Oscar nomination for "Poseidon" while portraying her third drowning victim. At around the same time, she scored quite well as the indomitable Marx Brothers' mama in "Minnie's Boys" on Broadway in 1970.
In the 1970s and 1980s, she developed into an oddly-distracted personality on TV, making countless talk show appearances and becoming quite the raconteur and incessant name dropper with her juicy Hollywood behind-the-scenes tales. Candid would be an understatement when she published two scintillating tell-all autobiographies that reached the bestsellers list. "Shelley, Also Known as Shirley" (1981) and "Shelley II: The Middle of My Century" (1989) detailed dalliances with Errol Flynn, Burt Lancaster, Marlon Brando, William Holden, Sean Connery and Clark Gable, to name just a few.
Thrice divorced (her first husband was a WWII captain; her only child, Vittoria, was the daughter of her second husband, Gassman), she remained footloose and fancy free after finally breaking it off with the volatile Franciosa in 1960. Her stormy marriages and notorious affairs, not to mention her ambitious forays into politics and feminist causes, kept her name alive for decades. She worked in films until the beginning of the millennium, her last film being the easily-dismissed Italian feature La bomba (1999). She enjoyed Emmy-winning TV work and had the recurring role of Roseanne Barr's tell-it-like-it-is grandmother on the comedienne's self-named sitcom. Her last years were marred by failing health and, for the most part, she was confined to a wheelchair. Suffering a heart attack in October of 2005, she died in a Beverly Hills nursing home of heart failure on January 14, 2006.
It was reported that only hours earlier on her deathbed she had entered into a "spiritual" union with her longtime companion of 19 years, Gerry McFord; a relationship of which her daughter disapproved. Gregarious, brazen, ambitious and completely unpredictable -- that would be Shelley Winters, the storyteller, whose amazing career lasted over six colorful decades.5389 points- Actor
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Edward Montgomery Clift (nicknamed 'Monty' his entire life) was born on October 17, 1920 in Omaha, Nebraska, just after his twin sister Roberta (1920-2014) and eighteen months after his brother Brooks Clift. He was the son of Ethel "Sunny" Anderson (Fogg; 1888-1988) and William Brooks Clift (1886-1964). His father made a lot of money in banking but was quite poor during the depression. His mother was born out of wedlock and spent much of her life and the family fortune finding her illustrious southern lineage and raising her children as aristocrats.
At age 13, Monty appeared on Broadway ("Fly Away Home"), and chose to remain in the New York theater for over ten years before finally succumbing to Hollywood. He gained excellent theatrical notices and soon piqued the interests of numerous lovelorn actresses; their advances met with awkward conflict. While working in New York in the early 1940s, he met wealthy former Broadway star Libby Holman. She developed an intense decade-plus obsession over the young actor, even financing an experimental play, "Mexican Mural" for him. It was ironic his relationship with the bisexual middle-aged Holman would be the principal (and likely the last) heterosexual relationship of his life and only cause him further anguish over his sexuality. She would wield considerable influence over the early part of his film career, advising him in decisions to decline lead roles in Sunset Blvd. (1950), (originally written specifically for him; the story perhaps hitting a little too close to home) and High Noon (1952).
His long apprenticeship on stage made him a thoroughly accomplished actor, notable for the intensity with which he researched and approached his roles. By the early 1950s he was exclusively homosexual, though he continued to hide his homosexuality and maintained a number of close friendships with theater women (heavily promoted by studio publicists).
His film debut was Red River (1948) with John Wayne quickly followed by his early personal success The Search (1948) (Oscar nominations for this, A Place in the Sun (1951), From Here to Eternity (1953) and Judgment at Nuremberg (1961)). By 1950, he was troubled with allergies and colitis (the U.S. Army had rejected him for military service in World War II for chronic diarrhea) and, along with pill problems, he was alcoholic. He spent a great deal of time and money on psychiatry.
In 1956, during filming of Raintree County (1957), he ran his Chevrolet into a tree after leaving a party at Elizabeth Taylor's; it was she who saved him from choking by pulling out two teeth lodged in his throat. His smashed face was rebuilt, he reconciled with his estranged father, but he continued bedeviled by dependency on drugs and his unrelenting guilt over his homosexuality.
With his Hollywood career in an irreversible slide despite giving an occasional riveting performance, such as in Stanley Kramer's Judgment at Nuremberg (1961), Monty returned to New York and tried to slowly develop a somewhat more sensible lifestyle in his brownstone row house on East 61st Street in Manhattan. He was set to play in Taylor's Reflections in a Golden Eye (1967), when he died in the early morning hours of July 23, 1966, at his home at age 45. His body was found by his live-in personal secretary/companion Lorenzo James, who found Clift lying nude on top of his bed, dead from what the autopsy called "occlusive coronary artery disease." Clift's last 10 years prior to his death from his 1956 car accident were called the "longest suicide in history" by famed acting teacher Robert Lewis.5334 points- Jean Bouise was born on 3 June 1929 in Le Havre, Seine-Inférieure [now Seine-Maritime], France. He was an actor, known for The Big Blue (1988), La Femme Nikita (1990) and Z (1969). He was married to Isabelle Sadoyan. He died on 6 July 1989 in Lyon, Rhône, France.5320 points
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Stanton was born in West Irvine, Kentucky, to Ersel (Moberly), a cook, and Sheridan Harry Stanton, a barber and tobacco farmer. He lived in Lexington, Kentucky and graduated from Lafayette Senior High School with the class of 1944. Drafted into the Navy, he served as a cook in the U.S. Navy during World War II, and was on board an LST during the Battle of Okinawa. He then returned to the University of Kentucky to appear in a production of "Pygmalion", before heading out to California and honing his craft at the prestigious Pasadena Playhouse. Stanton then toured around the United States with a male choir, worked in children's theater, and then headed back to California.
His first role on screen was in the tepid movie Tomahawk Trail (1957), but he was quickly noticed and appeared regularly in minor roles as cowboys and soldiers through the late 1950s and early 1960s. His star continued to rise and he received better roles in which he could showcase his laid-back style, such as in Cool Hand Luke (1967), Kelly's Heroes (1970), Dillinger (1973), The Godfather Part II (1974), and in Alien (1979). It was around this time that Stanton came to the attention of director Wim Wenders, who cast him in his finest role yet as Travis in the moving Paris, Texas (1984). Next indie director Alex Cox gave Stanton a role that brought him to the forefront, in the quirky cult film Repo Man (1984).
Stanton was now heavily in demand, and his unique look got him cast as everything from a suburban father in the mainstream Pretty in Pink (1986) to a soft-hearted, but ill-fated, private investigator in Wild at Heart (1990) and a crazy yet cunning scientist in Escape from New York (1981). Apart from his film performances, he was also an accomplished musician, and "The Harry Dean Stanton Band" and their unique spin on mariachi music played together for well over a decade. They toured internationally. He became a cult figure of cinema and music and when Debbie Harry sang the lyric, "I want to dance with Harry Dean..." in her 1990s hit "I Want That Man", she was talking about him. Stanton remained consistently active on screen, lastly appearing in films including Fear and Loathing in Las Vegas (1998), The Green Mile (1999) and The Man Who Cried (2000).5264 points- Actor
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Rodney Stephen Steiger was born in Westhampton, New York, to Augusta Amelia (Driver) and Frederick Jacob Steiger, both vaudevillians. He was of German and Austrian ancestry. After his parents' divorce, Steiger was raised by his mother in Newark, New Jersey. He dropped out of Westside High school at age 16 and joined the Navy. He saw action in the Pacific on a destroyer. Steiger returned to New Jersey after the war and worked for the VA. He was part of an amateur acting group, and then joined the Actors' Studio using his GI Bill benefits.
Steiger received his first film roles in the early 1950s. His first major one was in Teresa (1951), but his first lead role was in the TV version of Marty (1953). The movie version, however, had Ernest Borgnine in the lead and won him an Academy Award. Steiger's breakthrough role came in 1954, with the classic On the Waterfront (1954). Since then he has been a presence on the screen as everything from a popular leading man to a little-known character actor. Steiger made a name for himself in many different types of roles, from a crooked promoter in The Harder They Fall (1956) to the title character in Al Capone (1959). He was one of dozens of stars in the epic World War II film The Longest Day (1962). In 1964, he received his second Oscar nomination for The Pawnbroker (1964). The next couple of years he was at the height of his powers. In 1965, he starred in the dark comedy The Loved One (1965), and in David Lean's epic Doctor Zhivago (1965). In 1966, he starred in the BBC Play of the Month (1965) episode "Death of a Salesman" as Willy Loman in the TV version of his stage play "Death of a Salesman," but in 1967, he landed what many consider his greatest role: Sheriff Bill Gillespie in In the Heat of the Night (1967), opposite Sidney Poitier. Steiger deservedly took home the Best Actor Oscar for his work in that film.
He took another controversial role as a man with many tattoos in The Illustrated Man (1969) and as a serial killer in the classic No Way to Treat a Lady (1968). After that, he seemed to have withdrawn from high-profile movies and became more selective in the roles he chose. He turned down the lead in Patton (1970) and also in The Godfather (1972). Among his more notable roles in the 1970s are Happy Birthday, Wanda June (1971), Lolly-Madonna XXX (1973), as Benito Mussolini in The Last 4 Days (1974), Portrait of a Hitman (1979), Jesus of Nazareth (1977), F.I.S.T. (1978) and The Amityville Horror (1979). He starred in the critically acclaimed The Chosen (1981) with Robby Benson and Maximilian Schell, perhaps the highlight of his 1980s movie career. Steiger increasingly moved away from the big Hollywood pictures, instead taking roles in foreign productions and independent movies. As the 1980s ended, Steiger landed a role as the buttoned-up New York City Chief of Police in The January Man (1989).
Steiger was seriously affected by depression for 8 years. As he returned to the screen in the late 1990s he began creating some of his most memorable roles. He was the doctor in the independently-made movie Shiloh (1996), about an abused dog. He was the crazed, kill-'em-all army general in Mars Attacks! (1996) who always called his enemies peace-mongers. He took a small part as a Supreme Court judge in The Hurricane (1999) and as a preacher in the badly produced film End of Days (1999). He was still active in films moving into the new millennium.5251 points- Actor
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Powerful and highly respected American actor Jason Nelson Robards, Jr. was born in Chicago, Illinois, to Hope Maxine (Glanville) and stage and film star Jason Robards Sr. He had Swedish, English, Welsh, German, and Irish ancestry. Robards was raised mostly in Los Angeles. A star athlete at Hollywood High School, he served in the U.S. Navy in World War II, where he saw combat as a radioman (though he is not listed in official rolls of Navy Cross winners, despite the claims he and his public relations personnel made. Neither was he at Pearl Harbor during the Dec. 7, 1941 attack, his ship being at sea at the time.) Returning to civilian life, he attended the American Academy of Dramatic Arts and struggled as a small-part actor in local New York theatre, TV and radio before shooting to fame on the New York stage in Eugene O'Neill's "The Iceman Cometh" as Hickey. He followed that with another masterful O'Neill portrayal, as the alcoholic Jamie Tyrone in "Long Day's Journey Into Night" on Broadway. He entered feature films in The Journey (1959) and rose rapidly to even greater fame as a film star. Robards won consecutive Academy Awards for Best Supporting Actor for All the President's Men (1976) and Julia (1977), in each case playing real-life people. He continued to work on the stage, winning continued acclaim in such O'Neill works as "Moon For the Misbegotten" and "Hughie." Robards died of lung cancer in 2000.5244 points- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.5203 points- Actor
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Erland Josephson, the distinguished Swedish actor best known for his appearance in Ingmar Bergman's films, was born in Stockholm, Sweden on June 15, 1923. Josephson's relationship with Bergman, a long-time friend, began in the late 1930s when they first worked together in the theater.
Although he was in several motion pictures in the late 1940s and early '50s, including a bit part in Bergman's "The Man With an Umbrella" (1946), Josephson confined himself to the stage during the first part of his career. After appearing in Bergman's "The Magician" (1958) in support of Max von Sydow, Josephson did not make another movie until the late '60s, when he was cast in Bergman's "Hour of the Wolf" (1968). He collaborated on two screenplays with Bergman (using the joint pseudonym of Buntel Eriksson), Alf Kjellin's "The Pleasure Garden" (1961) and Bergman's own "Now About These Women" (1964).
In 1966, Josepheson succeeded Bergman as creative director of the Royal Dramatic Theatre in Stockholm, a post he held until 1975. He also succeeded Max Von Sydow as Bergman's favorite male lead in the 1970s, which brought him global fame. After co-starring with Von Sydow and Liv Ullmann in "The Passion of Anna" (1969), he had major roles in "The Touch" (1971), "Cries and Whispers" (1972), "Scenes From a Marriage" (a television mini-series edited into a film in 1973), and "Face to Face" (1976).
François Truffaut, in his guise as a film critic, wrote in 1958: "Bergman's preeminent strength is the direction he gives his actors. He entrusts the principal roles in his films to the five or six actors he loves best, never type-casting them. They are completely different from one film to the next, often playing diametrically opposite roles." In Bergman's films of the 1970s, Erland Josephson engendered the neurotic, post-war 20th century man: aloof, introspective, and self-centered.
Josephson also appeared in Bergman's "Autumn Sonata" (1978), "Fanny and Alexander" (1982) and "After the Rehearsal" (1984). After starring in "Trolösa" (2000), a film directed by frequent co-star Liv Ullmann and scripted by Bergman, it was time for him to be reunited with Ullmann as an actress under the hand of the maestro himself with "Saraband" (2003).
Josephson did not appear in a non-Swedish film until 1977, when he starred as Friedrich Nietzsche in Italian director Liliana Cavani's "Beyond Good and Evil." He continued to work in international cinema in the 1980s and '90s, appearing in Franco Brusati's "To Forget Venice (1980), Dusan Makavejev's "Montenegro" (1981), Philip Kaufman's "The Unbearable Lightness of Being" (1988), István Szabó's "Hanussen" (1988), and Peter Greenaway's "Prospero's Books" (1991). His most memorable non-Bergman roles were in the films of Andrei Tarkovsky, "Nostalghia" (1983) and "The Sacrifice" (1986).
Behind the camera, Josephson co-directed "One and One", a 1978 full-length film, with fellow Bergman collaborators Ingrid Thulin and Sven Nykvist, and directed the full-length "Marmalade Revolution" (1980). Erland Josephson also is an accomplished writer: He has written screenplays for Swedish films, as well as dramas, novels, and poetry.5072 points- Actor
- Director
- Producer
Walter Matthau was best known for starring in many films which included Charade (1963), The Odd Couple (1968), Grumpy Old Men (1993), and Dennis the Menace (1993). He often worked with Jack Lemmon and the two were Hollywood's craziest stars.
He was born Walter Jake Matthow in New York City, New York on October 1, 1920. His mother was an immigrant from Lithuania and his father was a Russian Jewish peddler and electrician from Kiev, Ukraine. As a young boy, Matthau attended a Jewish non-profit sleep-away camp. He also attended Surprise Lake Camp. His high school was Seward Park High School.
During World War II, Matthau served in the U.S. Army Air Forces with the Eighth Air Force in Britain as a Consolidated B-24 Liberator radioman-gunner, in the same 453rd Bombardment Group as James Stewart. He was based at RAF Old Buckenham, Norfolk during this time. He reached the rank of staff sergeant and became interested in acting.
Matthau appeared in the pilot of Mister Peepers (1952) alongside Wally Cox. He later appeared in the Elia Kazan classic, A Face in the Crowd (1957), opposite Patricia Neal and Andy Griffith, and then appeared in Lonely Are the Brave (1962), with Kirk Douglas, a film Douglas has often described as his personal favorite. Matthau then appeared in Charade (1963) with Audrey Hepburn and Cary Grant. In 1968, Matthau made his big screen appearance as Oscar Madison in The Odd Couple (1968) alongside Jack Lemmon. The two were also in the sequel (The Odd Couple II (1998)) as well as Grumpy Old Men (1993) and Grumpier Old Men (1995). Matthau was in Dennis the Menace (1993), alongside Mason Gamble. On July 1, 2000, Matthau died of a heart attack in Los Angeles, California. He was 79 years old.4800 points- Actor
- Producer
- Director
Screen legend, superstar, and the man with the most famous blue eyes in movie history, Paul Leonard Newman was born on January 26, 1925, in Cleveland, Ohio, the second son of Arthur Sigmund Newman (died 1950) and Theresa Fetsko (died 1982). His elder brother was Arthur S. Newman Jr., named for their father, a Jewish businessman who owned a successful sporting goods store and was the son of emigrants from Poland and Hungary. Newman's mother (born Terézia Fecková, daughter of Stefan Fecko and Mária Polenak) was a Roman Catholic Slovak from Homonna, Pticie (former Austro-Hungarian Empire), who became a practicing Christian Scientist. She and her brother, Newman's uncle Joe, had an interest in the creative arts, and it rubbed off on him. He acted in grade school and high school plays. The Newmans were well-to-do and Paul Newman grew up in affluent Shaker Heights. Before he became an actor, Newman ran the family sporting goods store in Cleveland, Ohio.
By 1950, the 25-year-old Newman had been kicked out of Ohio University, where he belonged to the Phi Kappa Tau fraternity, for unruly behavior (denting the college president's car with a beer keg), served three years in the United States Navy during World War II as a radio operator, graduated from Ohio's Kenyon College, married his first wife, Jacqueline "Jackie" Witte (born 1929), and had his first child, Scott. That same year, his father died. When he became successful in later years, Newman said if he had any regrets it would be that his father was not around to witness his success. He brought Jackie back to Shaker Heights and he ran his father's store for a short period. Then, knowing that wasn't the career path he wanted to take, he moved Jackie and Scott to New Haven, Connecticut, where he attended Yale University's School of Drama.
While doing a play there, Newman was spotted by two agents, who invited him to come to New York City to pursue a career as a professional actor. After moving to New York, he acted in guest spots for various television series and in 1953 came a big break. He got the part of understudy of the lead role in the successful Broadway play "Picnic". Through this play, he met actress Joanne Woodward (born 1930), who was also an understudy in the play. While they got on very well and there was a strong attraction, Newman was married and his second child, Susan, was born that year. During this time, Newman was accepted into the much admired and popular New York Actors Studio, although he did not actually audition.
In 1954, a film Newman was very reluctant to do was released, The Silver Chalice (1954). He considered his performance in this costume epic to be so bad that he took out a full-page ad in a trade paper apologizing for it to anyone who might have seen it. He had always been embarrassed about the film and reveled in making fun of it. He immediately wanted to return to the stage, and performed in "The Desperate Hours". In 1956, he got the chance to redeem himself in the film world by portraying boxer Rocky Graziano in Somebody Up There Likes Me (1956), and critics praised his performance. In 1957, with a handful of films to his credit, he was cast in The Long, Hot Summer (1958), co-starring Joanne Woodward.
During the shooting of this film, they realized they were meant to be together and by now, so did his then-wife Jackie, who gave Newman a divorce. He and Woodward wed in Las Vegas in January 1958. They went on to have three daughters together and raised them in Westport, Connecticut. In 1959, Newman received his first Academy Award nomination for Best Actor, in Cat on a Hot Tin Roof (1958). The 1960s would bring Newman into superstar status, as he became one of the most popular actors of the decade, and garnered three more Best Actor Oscar nominations, for The Hustler (1961), Hud (1963) and Cool Hand Luke (1967). In 1968, his debut directorial effort Rachel, Rachel (1968) was given good marks, and although the film and Woodward were nominated for Oscars, Newman was not nominated for Best Director. However, he did win a Golden Globe Award for his direction.
1969 brought the popular screen duo of Newman and Robert Redford together for the first time when Butch Cassidy and the Sundance Kid (1969) was released. It was a box office smash. Through the 1970s, Newman had hits and misses from such popular films as The Sting (1973) and The Towering Inferno (1974) to lesser known films as The Life and Times of Judge Roy Bean (1972) to a cult classic Slap Shot (1977). After the death of his only son, Scott, in 1978, Newman's personal life and film choices moved in a different direction. His acting work in the 1980s and on is what is often most praised by critics today. He became more at ease with himself and it was evident in The Verdict (1982) for which he received his sixth Best Actor Oscar nomination and, in 1987, finally received his first Oscar for The Color of Money (1986), almost thirty years after Woodward had won hers. Friend and director of Somebody Up There Likes Me (1956), Robert Wise accepted the award on Newman's behalf as the actor did not attend the ceremony.
Films were not the only thing on his mind during this period. A passionate race car driver since the early 1970s (despite being color-blind), he was co-founder of Newman-Haas racing in 1982, and also founded "Newman's Own", a successful line of food products that has earned in excess of $100 million, every penny of which Newman donated to charity. He also started The Hole in the Wall Gang Camps, an organization for children with serious illness. He was as well known for his philanthropic ways and highly successful business ventures as he was for his legendary actor status.
Newman's marriage to Woodward lasted a half-century. Connecticut was their primary residence after leaving Hollywood and moving East in 1960. Renowned for his sense of humor, in 1998 he quipped that he was a little embarrassed to see his salad dressing grossing more than his movies. During his later years, he still attended races, was much involved in his charitable organizations, and in 2006, he opened a restaurant called Dressing Room, which helps out the Westport Country Playhouse, a place in which Newman took great pride. In 2007, while the public was largely unaware of the serious illness from which he was suffering, Newman made some headlines when he said he was losing his invention and confidence in his acting abilities and that acting was "pretty much a closed book for me". A smoker for many years, Newman died on September 26, 2008, aged 83, from lung cancer.4707 points- Actor
- Producer
- Soundtrack
Keiji Sada was born on 9 December 1926 in Kyoto City, Japan. He was an actor and producer, known for I Will Buy You (1956), Taifû sôdôki (1956) and Good Morning (1959). He died on 17 August 1964 in Nirazaki, Japan.4674 points- Actor
- Director
- Producer
Sidney Poitier was a native of Cat Island, Bahamas, although born, two months prematurely, in Miami during a visit by his parents, Evelyn (Outten) and Reginald James Poitier. He grew up in poverty as the son of farmers, with his father also driving a cab in Nassau. Sidney had little formal education and at the age of 15 was sent to Miami to live with his brother, in order to forestall a growing tendency toward delinquency. In the U.S., he experienced the racial chasm that divides the country, a great shock to a boy coming from a society with a majority of African descent.
At 18, he went to New York, did menial jobs and slept in a bus terminal toilet. A brief stint in the Army as a worker at a veterans' hospital was followed by more menial jobs in Harlem. An impulsive audition at the American Negro Theatre was rejected so forcefully that Poitier dedicated the next six months to overcoming his accent and improving his performing skills. On his second try, he was accepted. Spotted in rehearsal by a casting agent, he won a bit part in the Broadway production of "Lysistrata", for which he earned good reviews. By the end of 1949, he was having to choose between leading roles on stage and an offer to work for Darryl F. Zanuck in the film No Way Out (1950). His performance as a doctor treating a white bigot got him plenty of notice and led to more roles. Nevertheless, the roles were still less interesting and prominent than those white actors routinely obtained. But seven years later, after turning down several projects he considered demeaning, Poitier got a number of roles that catapulted him into a category rarely if ever achieved by an African-American man of that time, that of leading man. One of these films, The Defiant Ones (1958), earned Poitier his first Academy Award nomination as Best Actor. Five years later, he won the Oscar for Lilies of the Field (1963), the first African American to win for a leading role.
He remained active on stage and screen as well as in the burgeoning Civil Rights movement. His roles in Guess Who's Coming to Dinner (1967) and To Sir, with Love (1967) were landmarks in helping to break down some social barriers between blacks and whites. Poitier's talent, conscience, integrity, and inherent likability placed him on equal footing with the white stars of the day. He took on directing and producing chores in the 1970s, achieving success in both arenas.4532 points- Actress
- Soundtrack
Audrey Hepburn was born as Audrey Kathleen Ruston on May 4, 1929 in Ixelles, Brussels, Belgium. Her mother, Baroness Ella Van Heemstra, was a Dutch noblewoman, while her father, Joseph Victor Anthony Ruston, was born in Úzice, Bohemia, to English and Austrian parents.
After her parents' divorce, Audrey went to London with her mother where she went to a private girls school. Later, when her mother moved back to the Netherlands, she attended private schools as well. While she vacationed with her mother in Arnhem, Netherlands, Hitler's army took over the town. It was here that she fell on hard times during the Nazi occupation. Audrey suffered from depression and malnutrition.
After the liberation, she went to a ballet school in London on a scholarship and later began a modeling career. As a model, she was graceful and, it seemed, she had found her niche in life--until the film producers came calling. In 1948, after being spotted modeling by a producer, she was signed to a bit part in the European film Nederlands in zeven lessen (1948). Later, she had a speaking role in the 1951 film, Young Wives' Tale (1951) as Eve Lester. The part still wasn't much, so she headed to America to try her luck there. Audrey gained immediate prominence in the US with her role in Roman Holiday (1953). This film turned out to be a smashing success, and she won an Oscar as Best Actress.
On September 25, 1954, she married actor Mel Ferrer. She also starred in Sabrina (1954), for which she received another Academy Award nomination. She starred in the films Funny Face (1957) and Love in the Afternoon (1957). She received yet another Academy Award nomination for her role in The Nun's Story (1959). On July 17, 1960, she gave birth to her first son, Sean Hepburn Ferrer.
Audrey reached the pinnacle of her career when she played Holly Golightly in Breakfast at Tiffany's (1961), for which she received another Oscar nomination. She scored commercial success again playing Regina Lampert in the espionage caper Charade (1963). One of Audrey's most radiant roles was in the fine production of My Fair Lady (1964). After a couple of other movies, most notably Two for the Road (1967), she hit pay dirt and another nomination in Wait Until Dark (1967).
In 1967, Audrey decided to retire from acting while she was on top. She divorced from Mel Ferrer in 1968. On January 19, 1969, she married Dr. Andrea Dotti. On February 8, 1970, she gave birth to her second son, Luca Dotti in Lausanne, Vaud, Switzerland. From time to time, she would appear on the silver screen.
In 1988, she became a special ambassador to the United Nations UNICEF fund helping children in Latin America and Africa, a position she retained until 1993. She was named to People's magazine as one of the 50 most beautiful people in the world. Her last film was Always (1989).
Audrey Hepburn died, aged 63, on January 20, 1993 in Tolochnaz, Vaud, Switzerland, from appendicular cancer. She had made a total of 31 high quality movies. Her elegance and style will always be remembered in film history as evidenced by her being named in Empire magazine's "The Top 100 Movie Stars of All Time".4530 points- A stalwart, subtle presence of British stage and screen, Gerald Sim's work was both prolific and varied. Nonetheless, he will be best remembered by the majority of viewers as the wily rector of To the Manor Born (1979). The son of a Barings Bank employee, Gerald was born in Liverpool on June 4, 1925. His elder sister was the actress Sheila Sim. After schooling in Kent he was trained at RADA, apparently having become enamored with acting after listening to a 1943 radio broadcast of John Gielgud (entitled "The Great Ship"). Then followed extensive repertory experience, both in England, and in Durban, South Africa (1954, with the McNeale Company). Beginning with a small role in Fame Is the Spur (1947), Sim was to eventually become one of Britain's most reliable, yet ever-so-discreet screen character players, his profile firmly established in several films directed by Bryan Forbes, including Whistle Down the Wind (1961), King Rat (1965) and The Wrong Box (1966).
He was most often featured as bumptious upper crusts (suitably convincing because of his clear voice and precise diction), obtuse vicars, police inspectors, barristers and very British stiff-upper-lip military types. He appeared in seven films directed by his brother-in-law Richard Attenborough: Oh! What a Lovely War (1969), Young Winston (1972), A Bridge Too Far (1977), Gandhi (1982), Cry Freedom (1987), Chaplin (1992) and Shadowlands (1993). After repeated guest roles in such prime time shows as Dixon of Dock Green (1955) and The Avengers (1961), Sim became firmly entrenched in the medium and never looked back. He briefly returned to the stage in 1979 and made one final TV appearance in 2007 in a 25th anniversary special of To the Manor Born (1979).4436 points - Actor
- Writer
- Director
Vittorio Gassman studied theatre in his youth and was quite a good basketball player. He debuted on stage in 1943 and soon felt home in all classical theatre works. Since 1946 he also worked at the movies and his first big role there was the criminal in Bitter Rice (1949). This fixed him to his main parts: The ambiguous gentleman inflicting pain and pleasure at the same time. He also participated in the Italian comedies and in American movies but the latter with only minor success. As a homage to his passion for the theatre he directed a cinema version of the play Kean: Genius or Scoundrel (1957).4321 points- Actor
- Soundtrack
Jack Warden was born John Warden Lebzelter, Jr. on September 18, 1920 in Newark, New Jersey, to Laura M. (Costello) and John Warden Lebzelter. His father was of German and Irish descent, and his mother was of Irish ancestry. Raised in Louisville, Kentucky, at the age of seventeen, young Jack Lebzelter was expelled from Louisville's DuPont Manual High School for repeatedly fighting. Good with his fists, he turned professional, boxing as a welterweight under the name "Johnny Costello", adopting his mother's maiden name. The purses were poor, so he soon left the ring and worked as a bouncer at a night club. He also worked as a lifeguard before signing up with the U.S. Navy in 1938. He served in China with the Yangtze River Patrol for the best part of his three-year hitch before joining the Merchant Marine in 1941.
Though the Merchant Marine paid better than the Navy, Warden was dissatisfied with his life aboard ship on the long convoy runs and quit in 1942 in order to enlist in the U.S. Army. He became a paratrooper with the elite 101st Airborne Division, and missed the June 1944 invasion of Normandy due to a leg badly broken by landing on a fence during a nighttime practice jump shortly before D-Day. Many of his comrades lost their lives during the Normandy invasion, but the future Jack Warden was spared that ordeal. Recuperating from his injuries, he read a play by Clifford Odets given to him by a fellow soldier who was an actor in civilian life. He was so moved by the play, he decided to become an actor after the war. After recovering from his badly shattered leg, Warden saw action at the Battle of the Bulge, Nazi Germany's last major offensive. He was demobilized with the rank of sergeant and decided to pursue an acting career on the G.I. Bill. He moved to New York City to attend acting school, then joined the company of Theatre '47 in Dallas in 1947 as a professional actor, taking his middle name as his surname. This repertory company, run by Margo Jones, became famous in the 1940s and '50s for producing Tennessee Williams's plays. The experience gave him a valuable grounding in both classic and contemporary drama, and he shuttled between Texas and New York for five years as he was in demand as an actor. Warden made his television debut in 1948, though he continued to perform on stage (he appeared in a stage production in Arthur Miller's Death of a Salesman (1966)). After several years in small, local productions, he made both his Broadway debut in the 1952 Broadway revival of Odets' "Golden Boy" and, three years later, originated the role of "Marco" in the original Broadway production of Miller's "A View From the Bridge". On film, he and fellow World War II veteran, Lee Marvin (Marine Corps, South Pacific), made their debut in You're in the Navy Now (1951) (a.k.a. "U.S.S. Teakettle"), uncredited, along with fellow vet Charles Bronson, then billed as "Charles Buchinsky".
With his athletic physique, he was routinely cast in bit parts as soldiers (including the sympathetic barracks-mate of Montgomery Clift and Frank Sinatra in the Oscar-winning From Here to Eternity (1953). He played the coach on TV's Mister Peepers (1952) with Wally Cox.
Aside from From Here to Eternity (1953) (The Best Picture Oscar winner for 1953), other famous roles in the 1950s included Juror #7 (a disinterested salesman who wants a quick conviction to get the trial over with) in 12 Angry Men (1957) - a film that proved to be his career breakthrough - the bigoted foreman in Edge of the City (1957) and one of the submariners commended by Clark Gable and Burt Lancaster in the World War II drama, Run Silent Run Deep (1958). In 1959, Warden capped off the decade with a memorable appearance in The Twilight Zone (1959) episode, The Lonely (1959), in the series premier year of 1959. As "James Corry", Warden created a sensitive portrayal of a convicted felon marooned on an asteroid, sentenced to serve a lifetime sentence, who falls in love with a robot. It was a character quite different from his role as Juror #7.
In the 1960s and early 70s, his most memorable work was on television, playing a detective in The Asphalt Jungle (1961), The Wackiest Ship in the Army (1965) and N.Y.P.D. (1967). He opened up the decade of the 1970s by winning an Emmy Award playing football coach "George Halas" in Brian's Song (1971), the highly-rated and acclaimed TV movie based on Gale Sayers's memoir, "I Am Third". He appeared again as a detective in the TV series, Jigsaw John (1976), in the mid-1970s, The Bad News Bears (1979) and appeared in a pilot for a planned revival of Topper (1937) in 1979.
His collaboration with Warren Beatty in two 1970s films brought him to the summit of his career as he displayed a flair for comedy in both Shampoo (1975) and Heaven Can Wait (1978). As the faintly sinister businessman "Lester" and as the perpetually befuddled football trainer "Max Corkle", Warden received Academy Award nominations as Best Supporting Actor. Other memorable roles in the period were as the metro news editor of the "Washington Post" in All the President's Men (1976), the German doctor in Death on the Nile (1978), the senile, gun-toting judge in And Justice for All (1979), the President of the United States in Being There (1979), the twin car salesmen in Used Cars (1980) and Paul Newman's law partner in The Verdict (1982).
This was the peak of Warden's career, as he entered his early sixties. He single-handedly made Andrew Bergman's So Fine (1981) watchable, but after that film, the quality of his roles declined. He made a third stab at TV, again appearing as a detective in Crazy Like a Fox (1984) in the mid-1980s. He played the shifty convenience store owner "Big Ben" in Problem Child (1990) and its two sequels, a role unworthy of his talent, but he shone again as the Broadway high-roller "Julian Marx" in Woody Allen's Bullets Over Broadway (1994). After appearing in Warren Beatty's Bulworth (1998), Warden's last film was The Replacements (2000) in 2000. He then lived in retirement in New York City with his girlfriend, Marucha Hinds. He was married to French stage actress Wanda Ottoni, best known for her role as the object of Joe Besser's desire in The Three Stooges short, Fifi Blows Her Top (1958). She gave up her career after her marriage. They had one son, Christopher, but had been separated for many years.4176 points- Actress
- Soundtrack
Gloria Grahame Hallward, an acting pupil of her mother (stage actress and teacher Jean Grahame), acted professionally while still in high school. In 1944 Louis B. Mayer saw her on Broadway and gave her an MGM contract under the name Gloria Grahame. Her debut in the title role of Blonde Fever (1944) was auspicious, but her first public recognition came on loan-out in It's a Wonderful Life (1946). Although her talent and sex appeal were of star quality, she did not fit the star pattern at MGM, who sold her contract to RKO in 1947. Here the same problem resurfaced; her best film in these years was made on loan-out, In a Lonely Place (1950). Soon after, she left RKO. The 1950s, her best period, brought her a Best Supporting Actress Oscar and typecast her as shady, inimitably sultry ladies in seven well-known film-noir classics.
Rumors of being difficult to work with on the set of Oklahoma! (1955) helped sideline her film career from 1956 onward. She also suffered from marital and child-custody troubles. Eight years after divorce from Nicholas Ray, who was 12 years her senior (and reportedly had discovered her in bed with his 13 year old son), and after a subsequent marriage to Cy Howard ended in divorce, in 1960 she married her former stepson Anthony Ray (who was almost 14 years younger than she was.) This led former husbands Nicholas Ray and Cy Howard to sue Grahame; each man seeking custody of his respective child, putting gossip columnists and scandal sheets into overdrive. Grahame herself underwent electroconvulsive therapy after the ensuing stress caused a nervous breakdown. Surprisingly, however, Grahame and Anthony "Tony" Ray proved a happy couple. The union would be Grahame's longest marriage, lasting almost 14 years (10 years longer than her previous union with Ray's father); the couple had two children, Anthony Jr. and James.
In 1960, Grahame resumed stage acting, combined with TV work and, from 1970, some mostly inferior films. She was described as a serious, skillful actress; spontaneous, honest, and strong-willed; imaginative and curious; incredibly sexy but insecure about her looks (prompting plastic surgery on her famous lips); loving appreciative male company; "a bit loony". In 1975, she was treated for breast cancer. Five years later, she was diagnosed with cancer again, although it is unclear if this was a new cancer or a metastasis of her breast cancer. Grahame eventually moved to England in 1978. Her busiest period of British and American stage work ended abruptly in 1981 when she collapsed from cancer symptoms during a rehearsal. She wished to remain in Liverpool with her partner, Peter Turner (almost 30 years her junior), but after Turner notified her children of her health condition and impending death, two of her children flew to England to retrieve her, insisting she return to the United States. She died a few hours later that same day of stomach cancer and peritonitis at St. Vincent's Hospital in Manhattan on October 5, 1981 at age 57.4154 points- Actor
- Producer
- Director
Richard Attenborough, Baron Attenborough of Richmond-upon-Thames, was born in Cambridge, England, the son of Mary (née Clegg), a founding member of the Marriage Guidance Council, and Frederick Levi Attenborough, a scholar and academic administrator who was a don at Emmanuel College and wrote a standard text on Anglo-Saxon law. The family later moved to Leicester where his father was appointed Principal of the university while Richard was educated at Wyggeston Grammar School for Boys in Leicester and at the Royal Academy of Dramatic Art (RADA).
His film career began with a role as a deserting sailor in In Which We Serve (1942), a part that contributed to his being typecast for many years as a coward in films like Dulcimer Street (1948), Operation Disaster (1950) and his breakthrough role as a psychopathic young gangster in the film adaptation of Graham Greene's novel, Brighton Rock (1948). During World War II, Attenborough served in the Royal Air Force.
He worked prolifically in British films for the next 30 years, and in the 1950s appeared in several successful comedies for John Boulting and Roy Boulting, including Private's Progress (1956) and I'm All Right Jack (1959). Early in his stage career, Attenborough starred in the London West End production of Agatha Christie's "The Mousetrap", which went on to become one of the world's longest-running stage productions. Both he and his wife were among the original cast members of the production, which opened in 1952 and (as of 2007) is still running.
In the 1960s, he expanded his range of character roles in films such as Seance on a Wet Afternoon (1964) and Guns at Batasi (1964), for which he won the BAFTA Award for Best Actor for his portrayal of the regimental Sergeant Major. He appeared in the ensemble cast of The Great Escape (1963), as Squadron Leader "Roger Bartlett" ("Big X"), the head of the escape committee.
In 1967 and 1968, he won back-to-back Golden Globe Awards in the category of Best Supporting Actor, the first time for The Sand Pebbles (1966), starring Steve McQueen, and the second time for Doctor Dolittle (1967), starring Rex Harrison. He would win another Golden Globe for Best Director, for Gandhi (1982), in 1983. Six years prior to "Gandhi", he played the ruthless "Gen. Outram" in Indian director Satyajit Ray's period piece, The Chess Players (1977). He has never been nominated for an Academy Award in an acting category.
He took no acting roles following his appearance in Otto Preminger's The Human Factor (1979), until his appearance as the eccentric developer "John Hammond" in Steven Spielberg's Jurassic Park (1993). The following year, he starred as "Kris Kringle" in Miracle on 34th Street (1994), a remake of the 1947 classic. Since then, he has made occasional appearances in supporting roles, including the historical drama, Elizabeth (1998), as "Sir William Cecil".
In the late 1950s, Attenborough formed a production company, "Beaver Films", with Bryan Forbes and began to build a profile as a producer on projects, including The League of Gentlemen (1960), The Angry Silence (1960) and Whistle Down the Wind (1961), also appearing in the first two of these as an actor.
His feature film directorial debut was the all-star screen version of the hit musical, Oh! What a Lovely War (1969), and his acting appearances became more sporadic - the most notable being his portrayal of serial killer "John Christie" in 10 Rillington Place (1971). He later directed two epic period films: Young Winston (1972), based on the early life of Winston Churchill, and A Bridge Too Far (1977), an all-star account of Operation Market Garden in World War II. He won the 1982 Academy Award for Directing for his historical epic, Gandhi (1982), a project he had been attempting to get made for many years. As the film's producer, he also won the Academy Award for Best Picture. His most recent films, as director and producer, include Chaplin (1992), starring Robert Downey Jr. as Charles Chaplin, and Shadowlands (1993), based on the relationship between C.S. Lewis and Joy Gresham. Both films starred Anthony Hopkins, who also appeared in three other films for Attenborough: "Young Winston", "A Bridge Too Far" and the thriller, Magic (1978).
Attenborough also directed the screen version of the hit Broadway musical, "A Chorus Line" (A Chorus Line (1985)), and the apartheid drama, Cry Freedom (1987), based on the experiences of Donald Woods. He was nominated for a Golden Globe Award for Best Director for both films. His most recent film as director was another biographical film, Grey Owl (1999), starring Pierce Brosnan.
Attenborough is the President of RADA, Chairman of Capital Radio, President of BAFTA, President of the Gandhi Foundation, and President of the British National Film and Television School. He is also a vice patron of the Cinema and Television Benevolent Fund.
He is also the patron of the UWC movement (United World Colleges), whereby he continually contributes greatly to the colleges that are part of the organization. He has frequented the United World College of Southern Africa(UWCSA) Waterford Kamhlaba. His wife and he founded the "Richard and Sheila Attenborough Visual Arts Center". He also founded the "Jane Holland Creative Center for Learning" at Waterford Kamhlaba in Swaziland in memory of his daughter, who died in the Tsunami on Boxing Day, 2004. He passionately believes in education, primarily education that does not judge upon color, race, creed or religion. His attachment to Waterford is his passion for non-racial education, which were the grounds on which Waterford Kamhlaba was founded. Waterford was one of his inspirations for directing Cry Freedom (1987), based on the life of Steve Biko.
He was elected to the post of Chancellor of the University of Sussex on 20 March 1998, replacing the Duke of Richmond and Gordon. A lifelong supporter of Chelsea Football Club, Attenborough served as a director of the club from 1969-1982 and, since 1993, has held the honorary position of Life Vice President. He is also the head of the consortium, "Dragon International", which is constructing a film and television studio complex in Llanilid, Wales, often referred to as "Valleywood".
In 1967, he was made a Commander of the Order of the British Empire (CBE). He was knighted in 1976 and, in 1993, he was made a life peer as Baron Attenborough, of Richmond-upon-Thames in the London Borough of Richmond upon Thames.
On 13 July 2006, Attenborough and his brother, David Attenborough, were awarded the titles of Distinguished Honorary Fellows of the University of Leicester "in recognition of a record of continuing distinguished service to the University". Lord Attenborough is also listed as an Honorary Fellow of Bangor University for his continued efforts to film making.
Attenborough has been married to English actress Sheila Sim, since 1945. They had three children. In December 2004, his elder daughter, Jane Holland, as well as her daughter Lucy and her mother-in-law, also named Jane, were killed in the tsunami caused by the Indian Ocean earthquake. A memorial service was held on 8 March 2005, and Attenborough read a lesson at the national memorial service on 11 May 2005. His grandson, Samuel Holland, and granddaughter, Alice Holland, also read in the service.
Attenborough's father was principal of University College, Leicester, now the city's university. This has resulted in a long association with the university, with Lord Attenborough a patron. A commemorative plaque was placed on the floor of Richmond Parish Church. The university's "Richard Attenborough Centre for Disability and the Arts", which opened in 1997, is named in his Honor.
His son, Michael Attenborough, is also a director. He has two younger brothers, the famous naturalist Sir David Attenborough and John Attenborough, who has made a career in the motor trade.
He has collected Pablo Picasso ceramics since the 1950s. More than 100 items went on display at the New Walk Museum and Art Gallery in Leicester in 2007; the exhibition is dedicated to his family members lost in the tsunami.4093 points- Actor
- Additional Crew
Romolo Valli was born on 7 February 1925 in Reggio Emilia, Emilia-Romagna, Italy. He was an actor, known for The Leopard (1963), Duck, You Sucker! (1971) and The Garden of the Finzi-Continis (1970). He died on 1 February 1980 in Rome, Lazio, Italy.4065 points- Actor
- Writer
- Director
Allan Edwall was born in a working class home in Jämtland, Sweden in 1924. His father was a trade-union man and a communist. 1949-52 he attended Stockholm's Royal Daramatic Theatre School. Through the years he made more than 400 parts in theater, film, television and radio. He was also a director, an author, a composer and a singer. On records he sang his own songs where he attacked the injustices in our society. From 1986 and for the remaining years he ran his own theater 'Brunnsgatan 4' in Stockholm, where he did everything by himself, from acting to selling tickets.4023 points- Actor
- Writer
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Often credited as the greatest comedian of all time, Peter Sellers was born Richard Henry Sellers to a well-off acting family in 1925 in Southsea, a suburb of Portsmouth. He was the son of Agnes Doreen "Peg" (Marks) and William "Bill" Sellers. His parents worked in an acting company run by his grandmother. His father was Protestant and his mother was Jewish (of both Ashkenazi and Sephardi background). His parents' first child had died at birth, so Sellers was spoiled during his early years. He enlisted in the Royal Air Force and served during World War II. After the war he met Spike Milligan, Harry Secombe and Michael Bentine, who would become his future workmates.
After the war, he set up a review in London, which was a combination of music (he played the drums) and impressions. Then, all of a sudden, he burst into prominence as the voices of numerous favorites on the BBC radio program "The Goon Show" (1951-1960), and then making his debut in films in Penny Points to Paradise (1951) and Down Among the Z Men (1952), before making it big as one of the criminals in The Ladykillers (1955). These small but showy roles continued throughout the 1950s, but he got his first big break playing the dogmatic union man, Fred Kite, in I'm All Right Jack (1959). The film's success led to starring vehicles into the 1960s that showed off his extreme comic ability to its fullest. In 1962, Sellers was cast in the role of Clare Quilty in the Stanley Kubrick version of the film Lolita (1962) in which his performance as a mentally unbalanced TV writer with multiple personalities landed him another part in Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) in which he played three roles which showed off his comic talent in play-acting in three different accents; British, American, and German.
The year 1964 represented a peak in his career with four films in release, all of them well-received by critics and the public alike: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), for which he was Oscar nominated, The Pink Panther (1963), in which he played his signature role of the bumbling French Inspector Jacques Clouseau for the first time, its almost accidental sequel, A Shot in the Dark (1964), and The World of Henry Orient (1964). Sellers was on top of the world, but on the evening of April 5, 1964, he suffered a nearly fatal heart attack after inhaling several amyl nitrites (also called 'poppers'; an aphrodisiac-halogen combination) while engaged in a sexual act with his second wife Britt Ekland. He had been working on Billy Wilder's Kiss Me, Stupid (1964). In a move Wilder later regretted, he replaced Sellers with Ray Walston rather than hold up production. By October 1964, Sellers made a full recovery and was working again.
The mid-1960s were noted for the popularity of all things British, from the Beatles music (who were presented with their Grammy for Best New Artist by Sellers) to the James Bond films, and the world turned to Sellers for comedy. What's New Pussycat (1965) was another big hit, but a combination of his ego and insecurity was making Sellers difficult to work with. When the James Bond spoof Casino Royale (1967) ran over budget and was unable to recoup its costs despite an otherwise healthy box-office take, Sellers received some of the blame. He turned down an offer from United Artists for the title role in Inspector Clouseau (1968), but was angry when the production went ahead with Alan Arkin in his place. His difficult reputation and increasingly erratic behavior, combined with several less successful films, took a toll on his standing. By 1970, he had fallen out of favor. He spent the early years of the new decade appearing in such lackluster B films as Where Does It Hurt? (1972) and turning up more frequently on television as a guest on The Dean Martin Show (1965) and a Glen Campbell TV special.
In 1974, Inspector Clouseau came to Sellers rescue when Sir Lew Grade expressed an interest in a TV series based on the character. Clouseau's creator, writer-director Blake Edwards, whose career had also seen better days, convinced Grade to bankroll a feature film instead, and The Return of the Pink Panther (1975) was a major hit release during the summer of Jaws (1975) and restored both men to prominence. Sellers would play Clouseau in two more successful sequels, The Pink Panther Strikes Again (1976) and Revenge of the Pink Panther (1978), and Sellers would use his newly rediscovered clout to realize his dream of playing Chauncey Gardiner in a film adaptation of Jerzy Kosinski's novel "Being There". Sellers had read the novel in 1972, but it took seven years for the film to reach the screen. Being There (1979) earned Sellers his second Oscar nomination, but he lost to Dustin Hoffman for Kramer vs. Kramer (1979).
Sellers struggled with depression and mental insecurities throughout his life. An enigmatic figure, he often claimed to have no identity outside the roles that he played. His behavior on and off the set and stage became more erratic and compulsive, and he continued to frequently clash with his directors and co-stars, especially in the mid-1970s when his physical and mental health, together with his continuing alcohol and drug problems, were at their worst. He never fully recovered from his 1964 heart attack because he refused to take traditional heart medication and instead consulted with 'psychic healers'. As a result, his heart condition continued to slowly deteriorate over the next 16 years. On March 20, 1977, Sellers barely survived another major heart attack and had a pacemaker surgically implanted to regulate his heartbeat which caused him further mental and physical discomfort. However, he refused to slow down his work schedule or consider heart surgery which might have extended his life by several years.
On July 25, 1980, Sellers was scheduled to have a reunion dinner in London with his Goon Show partners, Spike Milligan and Harry Secombe. However, at around 12 noon on July 22, Sellers collapsed from a massive heart attack in his Dorchester Hotel room and fell into a coma. He died in a London hospital just after midnight on July 24, 1980 at age 54. He was survived by his fourth wife, Lynne Frederick, and three children: Michael, Sarah and Victoria. At the time of his death, he was scheduled to undergo an angiography in Los Angeles on July 30 to see if he was eligible for heart surgery.
His last movie, The Fiendish Plot of Dr. Fu Manchu (1980), completed just a few months before his death, proved to be another box office flop. Director Blake Edwards' attempt at reviving the Pink Panther series after Sellers' death resulted in two panned 1980s comedies, the first of which, Trail of the Pink Panther (1982), deals with Inspector Clouseau's disappearance and was made from material cut from previous Pink Panther films and includes interviews with the original casts playing their original characters.3966 points- Actor
- Soundtrack
The notably gifted, multi-talented actor, chanteur, poet and painter Serge Reggiani was born in Reggio Emilia, a town in northern Italy, in 1922. His father, a highly visible anti-fascist, fled his Mussolini-dictated homeland due to his fervent political activities and emigrated to France in order to protect his family. Serge learned to speak fluent French and developed an interest in athletics, particularly boxing, but went an entirely different route altogether by following in his father's footsteps as a hair stylist.
In 1937, his career path changed yet again when he was accepted into the Conservatoire des Arts Cinematographiques. After graduation, he landed a few minor roles in both films and theatre and enrolled at the prestigious Conservatoire National d'Art Dramatique in 1939 wherein he won numerous acting awards. Though he earned a reputation for himself in the Paris theatre world, Reggiani was more interested in movie-making and would thereafter focus his attention toward the big screen.
During the filming of Le carrefour des enfants perdus (1944) [Children of Chaos], he met and subsequently married actress Janine Darcey, which produced two children: Stephan (1946) and Carine (1951). After obtaining French citizenship in 1948, he went on to secure a name for himself in Gallic cinema with roles in Gates of the Night (1946) [Gates of the Night], Manon (1949), The Lovers of Verona (1949) [The Lovers of Verona], La Ronde (1950) and Casque d'Or (1952). Following his divorce, he married actress Annie Noël and fathered three children: Celia (1958), Simon (1961) and Maria (1963). In 1959 Reggiani introduced a distinctive singing talent on radio and, following film roles in The Informer (1962) and The Leopard (1963) [The Leopard], launched his musical career at age 43.
Reggiani released his award-winning debut album in 1965 and it proved to be such a major hit with both the French public and the critics that singing became a prime career. Surprisingly, the middle-aged, deep-voiced balladeer would strike a chord with the younger politically left generation of the late 60s. A second album produced in 1967, plus a left-wing concert with the legendary Jacques Brel, clenched his popularity with teenagers. He began to extend himself internationally while continuing a healthy album output.
Children Stephan and Carine actively developed their own singing careers and Reggiani performed on the concert stage with them in encouragement but with lackluster results. Son Stephan, completely overshadowed by his father, took this extremely hard and in 1980 (July, 29) committed suicide at the family home in Mougins. He was only 33. Devastated, Reggiani withdrew from the music scene for a while to recover from his grief and would battle bouts of depression and alcoholism for much of his remaining life. Divorced from his second wife in 1973, he met actress Noëlle Adam in the 1980s and they lived in partnership for over 20 years, she becoming a lasting source of strength for him in dealing with his personal tragedies.
Reggiani's later years would be more or less spent in seclusion, finding one last passion in painting. He displayed his works at his first exhibition in 1989. After performing in concert to mark the 25th anniversary of his singing career, Reggiani found the strength to return to the French music scene with a brand new album. At age 70+, he successfully recorded and was welcomed back to the concert stage with great applause. Though his acting career had calmed down a great deal since his singing heyday erupted, he did star in De force avec d'autres (1992) [For the Love of Others], a film written and directed by son Simon Reggiani that also featured Ms. Adam.
Serge married his longtime partner, Noëlle Adam, in March of 2003; he died of a heart attack at his Paris home a little over a year later at age 82. Although little known here in the U.S., unlike chanson stylists Yves Montand and Jacques Brel, the acclaimed Reggiani has nevertheless reached legendary proportions in France and Europe.3959 points- Actor
- Writer
- Director
One of Italy's most captivating and talented cinematic comedy stars, Italian veteran Alberto Sordi was known for satirizing his country's social mores in pungent black comedies, farcical tales and grim drama. He, along with peers Vittorio Gassman, Ugo Tognazzi and Nino Manfredi, arguably represent the finest of post-war Italian cinema history. Born in Rome on June 15, 1920 in the Trastevere district, Sordi grew up in a musical family, his father being a tuba player for the Rome Opera House. A choir boy at the Sistine Chapel, he later trained for the theater in Milan but returned to Rome to work in radio and musical halls in comedy shows. In the late 30s he found his way into film as an extra. His first important role was in The Three Pilots (1942), a fascist war picture, but he wouldn't hit international stardom until a decade later when he starred in Federico Fellini's early films The White Sheik (1952) and I Vitelloni (1953). The titles of some of his most prolific characters were as simple as their titles: The Seducer, The Bachelor, The Husband, The Widower, The Traffic Cop, and The Moralist. Most of his protagonists amusingly, but not always pleasantly, stereotyped the worst attributes of Italian men and society, yet many of his films are unparalleled in quality and considered masterpieces. Sordi went on to star, direct and co-write more than 150 films. Never married and rather an introvert, he enjoyed a quiet, reclusive personal life. On his 80th birthday, he was made Mayor of Rome for the day. In 2002, after 190 films, he announced his retirement, and died of a heart attack the following year at age 82.3899 points- Actress
- Soundtrack
Deborah Jane Trimmer was born on 30 September 1921 in Glasgow, Scotland, the daughter of Captain Arthur Kerr Trimmer. She was educated at Northumberland House, Clifton, Bristol. She first performed at the Open Air Theatre in Regent's Park, London. She subsequently performed with the Oxford Repertory Company 1939-40. Her first appearance on the West End stage was as Ellie Dunn in "Heartbreak House" at the Cambridge Theatre in 1943. She performed in France, Belgium and Holland with ENSA (Entertainments National Service Association, or Every Night Something Awful) - The British Army entertainment service. She has appeared in many films from her first appearance in Major Barbara (1941).3872 points- Actor
- Additional Crew
- Soundtrack
Yuri Nikulin was a Russian film actor, comedian, mime, and circus clown who was also Artistic Director of Moscow Circus and popular TV show host.
He was born Yuri Vladimirovich Nikulin on December 18, 1921, in the town of Demidov, Smolensk province, Central Russia. His father, Vladimir Andreevich Nikulin, was a writer and director who worked for theater and circus. Yuri Nikulin inherited his fathers talents and had a dream of becoming an actor. The Second World War changed his plans as he was drafted in the Soviet Army in 1939 and served in a tank unit until 1946. After the war he came out a changed man. He could not get in any Soviet acting school for a few years, until he went to the Moscow Circus. There he was admitted after presenting a pantomime as a clown. He graduated from the Circus School in 1950, and started his acting career as a clown at the Moscow State Circus.
Yuri Nikulin became best known for his roles in the comedies from director Leonid Gaidai. Their collaboration from 1961 to 1971 was one of the most productive actor-director partnerships in the history of Russian film. Their comedies were the highest-grossing box office hits ever in Russia and the former Soviet Union with the admissions of 222,800,000 in the first 15 months. The Diamond Arm (1969) was the #1 top grossing Russian box office hit ever with theatrical admissions over 76,700,000 in the Soviet Union in 1969. In a 1995 national poll in Russia, The Diamond Arm (1969), starring Yuri Nikulin was voted the best Russian comedy ever.
Nikulin's effortless style and precise delivery, as well as his mastery of timing and his hilarious masks made him an outstanding comedian, arguably the best Russian comedian ever. Nikulin showed his range in a variety of genres from slapstick comedy to romance and war drama. His most popular film partners were Georgiy Vitsin, Evgeniy Morgunov, Natalya Varley, Rolan Bykov, Anatoliy Papanov, Sergey Filippov, Mikhail Pugovkin, Aleksandr Demyanenko, Leonid Kuravlyov, Andrey Mironov, Evgeniy Evstigneev, Vasiliy Shukshin, Vyacheslav Tikhonov, Sergey Bondarchuk, Nikolay Burlyaev, Viktor Pavlov, Boris Novikov, Vladimir Etush, Saveliy Kramarov, Nikolay Grinko, and many other notable Russian actors.
Yuri Nikulin received popular and critical acclaim for his leading and supporting roles in such films as 'Andrei Rublev' (1961) by director Andrei Tarkovsky, They Fought for Their Country (1975) by director Sergey Bondarchuk, 'Stariki-razboyniki' (1971) by director Eldar Ryazanov, 'Chuchelo' (1983) by director Rolan Bykov, 'Kogda derevya byli bolshimi' (1961) by director Lev Kulidzhanov, '12 stulev' by director Leonid Gaidai, 'Dvadtsat dney bez voiny' (1976) by director Aleksey German, and many other memorable works in film. Nikulin's recording of the theme song from The Diamond Arm (1969), especially his delivery of such lines as "We care less" and "We are fearless" made it a popular hit in the 60s and 70s Soviet Union.
Nikulin was among very few comedians who could continue laughing in the face of the Soviet system without any fear of being punished. Even the toughest hard-liners knew that without his humor the everyday life of many millions would be totally unbearable. His genuine talent endured the country's worst times with a smile. He could make people smile anytime and anywhere; even after the collapse of the Soviet Union, when the bloody communism was replaced with the no less bloody Russian capitalism. During the 1990s Nikulin hosted 'Bely Popugai' (aka.. White Parrot), a hilarious TV show where he gathered the crème de la crème of Russian comedians.
The Moscow State Circus on Tsvetnoi Bulevard was the main workplace for Yuri Nikulin, where he had a career spanning about 50 years. He was awarded the honorable title of the National Artist and received numerous decorations for his achievements as an actor. Yuri Nikulin died after an open heart surgery, on August 21, 1997, in Moscow, and was laid to rest in the Novodevichy Monastery Cemetery, among the tombs of Anton Chekhov, Mikhail A. Bulgakov, Nikolay Gogol, Nikita Khrushchev, Sergey Bondarchuk, Anatoliy Papanov, and other Russian culture luminaries and historic figures.3840 points- Actor
- Director
- Writer
Rolan Bykov was born on 12 November 1929 in Kiev, Ukrainian SSR, USSR [now Ukraine]. He was an actor and director, known for Chuchelo (1984), Aybolit-66 (1967) and Andrei Rublev (1966). He was married to Elena Sanaeva. He died on 6 October 1998 in Moscow, Russia.3838 points- Joseph Turkel was an American character actor. He is known for his roles in Stanley Kubrick's films The Killing, Paths of Glory, and The Shining, and as Dr. Eldon Tyrell in Blade Runner. He also had roles in three of Bert I. Gordon's films. Joseph Turkel was born in Brooklyn on July 15, 1927, to Benjamin Turkel, who was a tailor, and Gazella (née Goldfisher), a homemaker and occasional opera singer. His parents were Polish-Jewish immigrants. He had two brothers, Harold and David. Turkel joined the United States Army when he was seventeen and served in the European Theater of Operations during World War II.3796 points
- Actor
- Producer
- Soundtrack
Tony Curtis was born Bernard Schwartz, the eldest of three children of Helen (Klein) and Emanuel Schwartz, Jewish immigrants from Hungary. Curtis himself admits that while he had almost no formal education, he was a student of the "school of hard knocks" and learned from a young age that the only person who ever had his back was himself, so he learned how to take care of both himself and younger brother, Julius. Curtis grew up in poverty, as his father, Emanuel, who worked as a tailor, had the sole responsibility of providing for his entire family on his meager income. This led to constant bickering between Curtis's parents over money, and Curtis began to go to movies as a way of briefly escaping the constant worries of poverty and other family problems. The financial strain of raising two children on a meager income became so tough that in 1935, Curtis's parents decided that their children would have a better life under the care of the state and briefly had Tony and his brother admitted to an orphanage. During this lonely time, the only companion Curtis had was his brother, Julius, and the two became inseparable as they struggled to get used to this new way of life. Weeks later, Curtis's parents came back to reclaim custody of Tony and his brother, but by then Curtis had learned one of life's toughest lessons: the only person you can count on is yourself.
In 1938, shortly before Tony's Bar Mitzvah, tragedy struck when Tony lost the person most important to him when his brother, Julius, was hit by a truck and killed. After that tragedy, Curtis's parents became convinced that a formal education was the best way Tony could avoid the same never-knowing-where-your-next-meal-is-coming-from life that they had known. However, Tony rejected this because he felt that learning about literary classics and algebra wasn't going to advance him in life as much as some real hands-on life experience would. He was to find that real-life experience a few years later, when he enlisted in the navy in 1942. Tony spent over two years getting that life experience doing everything from working as a crewman on a submarine tender, the USS Proteus (AS-19), to honing his future craft as an actor performing as a sailor in a stage play at the Navy Signalman School in Illinois.
In 1945, Curtis was honorably discharged from the navy, and when he realized that the GI Bill would allow him to go to acting school without paying for it, he now saw that his lifelong pipe dream of being an actor might actually be achievable. Curtis auditioned for the New York Dramatic Workshop, and after being accepted on the strength of his audition piece (a scene from "Dr. Jekyll and Mr. Hyde" in pantomime), Curtis enrolled in early 1947. He then began to pay his dues by appearing in a slew of stage productions, including "Twelfth Night" and "Golden Boy". He then connected with a small theatrical agent named Joyce Selznick, who was the niece of film producer David O. Selznick. After seeing his potential, Selznick arranged an interview for Curtis to see David O. Selznick at Universal Studios, where Curtis was offered a seven-year contract. After changing his name to what he saw as an elegant, mysterious moniker--"Tony Curtis" (named after the novel Anthony Adverse (1936) by Hervey Allen and a cousin of his named Janush Kertiz)--Curtis began making a name for himself by appearing in small, offbeat roles in small-budget productions. His first notable performance was a two-minute role in Criss Cross (1949), with Burt Lancaster, in which he makes Lancaster jealous by dancing with Yvonne De Carlo. This offbeat role resulted in Curtis's being typecast as a heavy for the next few years, such as playing a gang member in City Across the River (1949).
Curtis continued to build up a show reel by accepting any paying job, acting in a number of bit-part roles for the next few years. It wasn't until late 1949 that he finally got the chance to demonstrate his acting flair, when he was cast in an important role in an action western, Sierra (1950). On the strength of his performance in that movie, Curtis was finally cast in a big-budget movie, Winchester '73 (1950). While he appears in that movie only very briefly, it was a chance for him to act alongside a Hollywood legend, James Stewart.
As his career developed, Curtis wanted to act in movies that had social relevance, ones that would challenge audiences, so he began to appear in such movies as Spartacus (1960) and The Defiant Ones (1958). He was advised against appearing as the subordinate sidekick in Spartacus (1960), playing second fiddle to the equally famous Kirk Douglas. However, Curtis saw no problem with this because the two had recently acted together in dual leading roles in The Vikings (1958).3685 points- Actor
- Writer
Innokenti Smoktunovsky (birth name Smoktunovich) was born in Siberian village of Tatianovka near Tomsk in 1925. There were some speculations that his ancestors were of Polish nobility or of Jewish ethnicity and that they were exiled to Siberia for participating in the January Uprising of 1863. But, according to Smoktunovsky's own words, his ancestors were Belarusian peasants who were sent to Siberia after his grand-grandfather - a guard in the Bialowieza Forest - shot a wisent without permission. His father was killed in WWII. Smoktunovsky was drafted in the Red Army during WWII and was seized by the Nazis as a POW. He was on the road to a concentration camp, but managed to escape from the Nazis. He joined the partisans and served until the end of WWII. After the war he was under suspicion as a former POW and his career was limited to Siberia.
He studied acting for one year at the drama-studio of the Krasnoyarsk Drama Theater (1946). He found employment at the Norilsk Zapolyarny Drama Theater, where his friend and partner was Georgi Zhzhyonov, among other exiled actors. Both friends later starred in 'Beregis avtomobilya (1966)', directed by Eldar Ryazanov. But his film career started with director Mikhail Romm in 'Ubiystvo na ulitse Dante (1956), and in 'Soldaty (1956)' with director 'Aleksandr Ivanov'.
Smoktunovsky was praised by Laurence Olivier for the leading role in 'Hamlet (1964)', a B&W screen version directed by Grigoriy Kozintsev. Leading roles in Tchaikovsky (1969), 'Uncle Vanya (1970)', were among the highlights in film career of this great Russian actor. He worked with Georgi Tovstonogov from 1957-72 on stage of the Bolshoi Drama Theater (BDT) in Leningrad. He later moved to Moscow, where he worked at the Maly Theater and at the Moscow Art Theater (MKHAT). Smoktunovsky wrote an autobiographical book titled "They left me alive", in which he described his survival in Siberia, in WWII, and back again in Siberia, where he started his brilliant acting career.3683 points- Actor
- Additional Crew
- Soundtrack
American actor Lee Marvin was born Lamont Waltman Marvin Jr. in New York City. After leaving school aged 18, Marvin enlisted in the United States Marine Corps Reserve in August 1942. He served with the 4th Marine Division in the Pacific Theater during World War II and after being wounded in action and spending a year being treated in naval hospitals, he received a medical discharge. Marvin's military decorations include the Purple Heart Medal, the Presidential Unit Citation, the American Campaign Medal, the Asiatic-Pacific Campaign Medal, the World War II Victory Medal and the Combat Action Ribbon. Returning to the United States it was while working as a plumbers apprentice, repairing a toilet at a local community theater, that he was asked to stand in for an actor who had fallen ill during rehearsals. He immediately caught the acting bug, moving to Greenwich Village to study at the American Theater Wing and began making appearances in stage productions and TV shows. His film debut came in 'You're in the Navy Now' (1951) but it was his portrayal of villains in 'The Big Heat' (1953) and 'The Wild One' (1953) that brought him to the attention of the public and critical acclaim. Now firmly established as a screen bad guy, he began shifting towards leading man roles and landed the lead role in the popular TV series 'M Squad' (1957-1960). Returning to feature films, Marvin had prominent roles in 'The Comancheros' (1961), 'The Man Who Shot Liberty Valance' (1962), 'Donovan's Reef' (1963) and 'The Killers' (1964) but it was his dual comic role in the offbeat western 'Cat Ballou' (1965) that made him a star and won him the Academy Award for Best Actor. He was now a much sought-after actor and starred in a number of movies as a new kind of leading man including 'The Professionals' (1966), 'The Dirty Dozen' (1967), 'Point Blank' (1967), 'Hell in the Pacific' (1968), 'Monte Walsh' (1970), 'Prime Cut' (1972), 'Emperor of the North' (1973) and 'The Spikes Gang' (1974).Later film credits include 'Shout at the Devil' (1976), 'Avalanche Express' (1979), 'The Big Red One' (1980), 'Death Hunt' (1981) and 'Gorky Park' (1983). His final film role was alongside Chuck Norris in 'The Delta Force' (1986). Lee Marvin died of a heart attack in August 1987. He was buried with full military honors at Arlington National Cemetery. Marvin paved the way for leading men that didn't fit the traditional mould. An iconic American tough guy and one of the 20th Century's greatest Hollywood stars.3593 points- Actress
- Soundtrack
One of the brightest, most tragic movie stars of Hollywood's Golden Era, Judy Garland was a much-loved character whose warmth and spirit, along with her rich and exuberant voice, kept theatre-goers entertained with an array of delightful musicals.
She was born Frances Ethel Gumm on 10 June 1922 in Minnesota, the youngest daughter of vaudevillians Ethel Marian (Milne) and Francis Avent "Frank" Gumm. She was of English, along with some Scottish and Irish, descent. Her mother, an ambitious woman gifted in playing various musical instruments, saw the potential in her daughter at the tender age of just 2 years old when Baby Frances repeatedly sang "Jingle Bells" until she was dragged from the stage kicking and screaming during one of their Christmas shows and immediately drafted her into a dance act, entitled "The Gumm Sisters," along with her older sisters Mary Jane Gumm and Virginia Gumm. However, knowing that her youngest daughter would eventually become the biggest star, Ethel soon took Frances out of the act and together they traveled across America where she would perform in nightclubs, cabarets, hotels and theaters solo.
Her family life was not a happy one, largely because of her mother's drive for her to succeed as a performer and also her father's closeted homosexuality. The Gumm family would regularly be forced to leave town owing to her father's illicit affairs with other men, and from time to time they would be reduced to living out of their automobile. However, in September 1935 the Gumms', in particular Ethel's, prayers were answered when Frances was signed by Louis B. Mayer, mogul of leading film studio MGM, after hearing her sing. It was then that her name was changed from Frances Gumm to Judy Garland, after a popular '30s song "Judy" and film critic Robert Garland.
Tragedy soon followed, however, in the form of her father's death of meningitis in November 1935. Having been given no assignments with the exception of singing on radio, Judy faced the threat of losing her job following the arrival of Deanna Durbin. Knowing that they couldn't keep both of the teenage singers, MGM devised a short entitled Every Sunday (1936) which would be the girls' screen test. However, despite being the outright winner and being kept on by MGM, Judy's career did not officially kick off until she sang one of her most famous songs, "You Made Me Love You," at Clark Gable's birthday party in February 1937, during which Louis B. Mayer finally paid attention to the talented songstress.
Prior to this her film debut in Pigskin Parade (1936), in which she played a teenage hillbilly, had left her career hanging in the balance. However, following her rendition of "You Made Me Love You," MGM set to work preparing various musicals with which to keep Judy busy. All this had its toll on the young teenager, and she was given numerous pills by the studio doctors in order to combat her tiredness on set. Another problem was her weight fluctuation, but she was soon given amphetamines in order to give her the desired streamlined figure. This soon produced the downward spiral that resulted in her lifelong drug addiction.
In 1939, Judy shot immediately to stardom with The Wizard of Oz (1939), in which she portrayed Dorothy, an orphaned girl living on a farm in the dry plains of Kansas who gets whisked off into the magical world of Oz on the other end of the rainbow. Her poignant performance and sweet delivery of her signature song, 'Over The Rainbow,' earned Judy a special juvenile Oscar statuette on 29 February 1940 for Best Performance by a Juvenile Actor. Now growing up, Judy began to yearn for meatier adult roles instead of the virginal characters she had been playing since she was 14. She was now taking an interest in men, and after starring in her final juvenile performance in Ziegfeld Girl (1941) alongside glamorous beauties Lana Turner and Hedy Lamarr, Judy got engaged to bandleader David Rose in May 1941, just two months after his divorce from Martha Raye. Despite planning a big wedding, the couple eloped to Las Vegas and married during the early hours of the morning on July 28, 1941 with just her mother Ethel and her stepfather Will Gilmore present. However, their marriage went downhill as, after discovering that she was pregnant in November 1942, David and MGM persuaded her to abort the baby in order to keep her good-girl image up. She did so and, as a result, was haunted for the rest of her life by her 'inhumane actions.' The couple separated in January 1943.
By this time, Judy had starred in her first adult role as a vaudevillian during WWI in For Me and My Gal (1942). Within weeks of separation, Judy was soon having an affair with actor Tyrone Power, who was married to French actress Annabella. Their affair ended in May 1943, which was when her affair with producer Joseph L. Mankiewicz kicked off. He introduced her to psychoanalysis and she soon began to make decisions about her career on her own instead of being influenced by her domineering mother and MGM. Their affair ended in November 1943, and soon afterward Judy reluctantly began filming Meet Me in St. Louis (1944), which proved to be a big success. The director Vincente Minnelli highlighted Judy's beauty for the first time on screen, having made the period musical in color, her first color film since The Wizard of Oz (1939). He showed off her large brandy-brown eyes and her full, thick lips and after filming ended in April 1944, a love affair resulted between director and actress and they were soon living together.
Vincente began to mold Judy and her career, making her more beautiful and more popular with audiences worldwide. He directed her in The Clock (1945), and it was during the filming of this movie that the couple announced their engagement on set on January 9, 1945. Judy's divorce from David Rose had been finalized on June 8, 1944 after almost three years of marriage, and despite her brief fling with Orson Welles, who at the time was married to screen sex goddess Rita Hayworth, on June 15, 1945 Judy made Vincente her second husband, tying the knot with him that afternoon at her mother's home with her boss Louis B. Mayer giving her away and her best friend Betty Asher serving as bridesmaid. They spent three months on honeymoon in New York and afterwards Judy discovered that she was pregnant.
On March 12, 1946 in Los Angeles, California, Judy gave birth to their daughter, Liza Minnelli, via cesarean section. It was a joyous time for the couple, but Judy was out of commission for weeks due to the cesarean and her postnatal depression, so she spent much of her time recuperating in bed. She soon returned to work, but married life was never the same for Vincente and Judy after they filmed The Pirate (1948) together in 1947. Judy's mental health was fast deteriorating and she began hallucinating things and making false accusations toward people, especially her husband, making the filming a nightmare. She also began an affair with aspiring Russian actor Yul Brynner, but after the affair ended, Judy soon regained health and tried to salvage her failing marriage. She then teamed up with dancing legend Fred Astaire for the delightful musical Easter Parade (1948), which resulted in a successful comeback despite having Vincente fired from directing the musical. Afterwards, Judy's health deteriorated and she began the first of several suicide attempts. In May 1949, she was checked into a rehabilitation center, which caused her much distress.
She soon regained strength and was visited frequently by her lover Frank Sinatra, but never saw much of Vincente or Liza. On returning, Judy made In the Good Old Summertime (1949), which was also Liza's film debut, albeit via an uncredited cameo. She had already been suspended by MGM for her lack of cooperation on the set of The Barkleys of Broadway (1949), which also resulted in her getting replaced by Ginger Rogers. After being replaced by Betty Hutton on Annie Get Your Gun (1950), Judy was suspended yet again before making her final film for MGM, entitled Summer Stock (1950). At 28, Judy received her third suspension and was fired by MGM, and her second marriage was soon dissolved.
Having taken up with Sidney Luft, Judy traveled to London to star at the legendary Palladium. She was an instant success and after her divorce from Vincente Minnelli was finalized on March 29, 1951 after almost six years of marriage, Judy traveled with Sid to New York to make an appearance on Broadway. With her newfound fame on stage, Judy was stopped in her tracks in February 1952 when she became pregnant by her new lover, Sid. At the age of 30, she made him her third husband on June 8, 1952; the wedding was held at a friend's ranch in Pasadena. Her relationship with her mother had long since been dissolved by this point, and after the birth of her second daughter, Lorna Luft, on November 21, 1952, she refused to allow her mother to see her granddaughter. Ethel then died in January 1953 of a heart attack, leaving Judy devastated and feeling guilty about not reconciling with her mother before her untimely demise.
After the funeral, Judy signed a film contract with Warner Bros. to star in the musical remake of A Star Is Born (1937), which had starred Janet Gaynor, who had won the first-ever Academy Award for Best Actress in 1929. Filming soon began, resulting in an affair between Judy and her leading man, British star James Mason. She also picked up on her affair with Frank Sinatra, and after filming was complete Judy was yet again lauded as a great film star. She won a Golden Globe for her brilliant and truly outstanding performance as Esther Blodgett, nightclub singer turned movie star, but when it came to the Academy Awards, a distraught Judy lost out on the Best Actress Oscar to Grace Kelly for her portrayal of the wife of an alcoholic star in The Country Girl (1954). Many still argue that Judy should have won the Oscar over Grace Kelly. Continuing her work on stage, Judy gave birth to her beloved son, Joey Luft, on March 29, 1955. She soon began to lose her millions of dollars as a result of her husband's strong gambling addiction, and with hundreds of debts to pay, Judy and Sid began a volatile, on-off relationship resulting in numerous divorce filings.
In 1961, at the age of 39, Judy returned to her ailing film career, this time to star in Judgment at Nuremberg (1961), for which she received an Oscar nomination for Best Supporting Actress, but this time she lost out to Rita Moreno for her performance in West Side Story (1961). Her battles with alcoholism and drugs led to Judy's making numerous headlines in newspapers, but she soldiered on, forming a close friendship with President John F. Kennedy. In 1963, Judy and Sid finally separated permanently, and on May 19, 1965 their divorce was finalized after almost 13 years of marriage. By this time, Judy, now 41, had made her final performance on film alongside Dirk Bogarde in I Could Go on Singing (1963). She married her fourth husband, Mark Herron, on November 14, 1965 in Las Vegas, but they separated in April 1966 after five months of marriage owing to his homosexuality. It was also that year that she began an affair with young journalist Tom Green. She then settled down in London after their affair ended, and she began dating disk jockey Mickey Deans in December 1968. They became engaged once her divorce from Mark Herron was finalized on January 9, 1969 after three years of marriage. She married Mickey, her fifth and final husband, in a register office in Chelsea, London, England on March 15, 1969.
She continued working on stage, appearing several times with her daughter Liza. It was during a concert in Chelsea, London, England that Judy stumbled into her bathroom late one night and died of an overdose of barbiturates, the drug that had dominated her much of her life, on June 22, 1969 at the age of 47. Her daughter Liza Minnelli paid for her funeral, and her former lover James Mason delivered her touching eulogy. She is still an icon to this day with her famous performances in The Wizard of Oz (1939), Meet Me in St. Louis (1944), Easter Parade (1948), and A Star Is Born (1954).3592 points- Born in Armagh, Northern Ireland, Patrick Magee is a classic example of how certain actors rate the stage far more highly than the screen. He was a favorite actor of Samuel Beckett, one of whose greatest plays, 'Krapp's Last Tape', was written specifically for him. He did outstanding work on film, most notably in Stanley Kubrick's A Clockwork Orange (1971) as the crippled writer Mr. Alexander, and in Kubrick's Barry Lyndon (1975), as the chevalier. He also appeared in Joseph Losey's The Servant (1963), Peter Brook's Marat/Sade (1967) and William Friedkin's The Birthday Party (1968). He also appeared in films by such cult directors as Roger Corman, Lucio Fulci and Walerian Borowczyk.3578 oints
- Actress
- Additional Crew
Born in San Giorgio di Piano, Giulietta Masina spent part of her teenage years living with a widowed aunt in Rome, where she cultivated a passion for the theater and studied for a degree in Philosophy. She began her career on the radio with the program "Terzoglio" (1942), about the adventures of newlyweds Cico and Pallina from scripts written by Federico Fellini. The series brought her great success. The following year she married Fellini and became the inspirational muse for many of his films.
She made her cinema debut in Without Pity (1948), directed by Alberto Lattuada, but really established her reputation with her next few films: Behind Closed Shutters (1951), directed by Luigi Comencini, Variety Lights (1950), which also marked Fellini's debut as director (the film credits both Fellini and Lattuada); and Europe '51 (1952), directed by Roberto Rossellini. Her artistic partnership with her husband really took off with the Oscar-winning The Road (1954), followed by The Swindle (1955) and the widely acclaimed Nights of Cabiria (1957), which again won an Oscar and brought her the award for Best Female Performance at the Cannes Film Festival. Over the following years she played many memorable roles in such films as Fortunella (1958), directed by Eduardo De Filippo; ...and the Wild Wild Women (1959), directed by Renato Castellani; and later in Juliet of the Spirits (1965) and Ginger & Fred (1986), both directed by Fellini.
From 1966 to 1969 she hosted the immensely popular radio show "Lettere aperte a Giulietta Masina" and starred in the television series Eleonora (1973), by Tullio Pinelli, directed by Silverio Blasi, and Camilla (1976), directed by Sandro Bolchi, based on the novel by Fausta Cialente, "Un inverno freddissimo" (1966).
She died in Rome in 1994, just a few months after the death of her husband.3577 points- Actress
- Soundtrack
With prominent cheekbones, luminous skin and the most crystalline green eyes of her day, Gene Tierney's striking good looks helped propel her to stardom. Her best known role is the enigmatic murder victim in Laura (1944). She was also Oscar-nominated for Leave Her to Heaven (1945). Her acting performances were few in the 1950s as she battled a troubled emotional life that included hospitalization and shock treatment for depression.
Gene Eliza Tierney was born on November 19, 1920 in Brooklyn, New York, to well-to-do parents, Belle Lavinia (Taylor) and Howard Sherwood Tierney. Her father was a successful insurance broker and her mother was a former teacher. Her childhood was lavish indeed. She also lived, at times, with her equally successful grandparents in Connecticut and New York. She was educated in the finest schools on the East Coast and at a finishing school in Switzerland.
After two years in Europe, Gene returned to the US where she completed her education. By 1938 she was performing on Broadway in What a Life! and understudied for the Primrose Path (1938) at the same time. Her wealthy father set up a corporation that was only to promote her theatrical pursuits. Her first role consisted of carrying a bucket of water across the stage, prompting one critic to announce that "Miss Tierney is, without a doubt, the most beautiful water carrier I have ever seen!" Her subsequent roles Mrs O'Brian Entertains (1939) and RingTwo (1939) were meatier and received praise from the tough New York critics. Critic Richard Watts wrote "I see no reason why Miss Tierney should not have a long and interesting theatrical career, that is if the cinema does not kidnap her away."
After being spotted by the legendary Darryl F. Zanuck during a stage performance of the hit show The Male Animal (1940), Gene was signed to a contract with 20th Century-Fox. Her first role as Barbara Hall in Hudson's Bay (1940) would be the send-off vehicle for her career. Later that year she appeared in The Return of Frank James (1940). The next year would prove to be a very busy one for Gene, as she appeared in The Shanghai Gesture (1941), Sundown (1941), Tobacco Road (1941) and Belle Starr (1941). She tried her hand at screwball comedy in Rings on Her Fingers (1942), which was a great success. Her performances in each of these productions were masterful. In 1945 she was nominated for a Best Actress Oscar for her portrayal of Ellen Brent in Leave Her to Heaven (1945). Though she didn't win, it solidified her position in Hollywood society. She followed up with another great performance as Isabel Bradley in the hit The Razor's Edge (1946).
In 1944, she played what is probably her best-known role (and, most critics agree, her most outstanding performance) in Otto Preminger's Laura (1944), in which she played murder victim named Laura Hunt. In 1947 Gene played Lucy Muir in the acclaimed The Ghost and Mrs. Muir (1947). By this time Gene was the hottest player around, and the 1950s saw no letup as she appeared in a number of good films, among them Night and the City (1950), The Mating Season (1951), Close to My Heart (1951), Plymouth Adventure (1952), Personal Affair (1953) and The Left Hand of God (1955). The latter was to be her last performance for seven years. The pressures of a failed marriage to Oleg Cassini, the birth of a daughter with learning disabilities in 1943, and several unhappy love affairs resulted in Gene being hospitalized for depression. When she returned to the the screen in Advise & Consent (1962), her acting was as good as ever but there was no longer a big demand for her services.
Her last feature film was The Pleasure Seekers (1964), and her final appearance in the film industry was in a TV miniseries, Scruples (1980). Gene died of emphysema in Houston, Texas, on November 6, 1991, just two weeks shy of her 71st birthday.3478 points- A character actress who never quite got her due, despite roles in numerous high-profile movies from the 1940s onward. Although a vigorous participant in Toho's labor disputes of that early period, like so many others she never really left, in part because she had married studio producer Tomoyuki Tanaka. An excellent performer with a lively and genuine presence, Nakakita was never fated for great stardom, although Akira Kurosawa early on spotted her potential as a realistic romantic lead, and cast her as the optimistic girlfriend in One Wonderful Sunday (1947). A superlative later performance appeared in Sekai daisensô (1961), in which she essayed the role of a single mother vainly struggling across Tokyo to be reunited with her young daughter before war breaks out. For the most part however, she appeared to come to regard acting as more of a hobby than a profession, turning up in bit roles for Toho movies of all kinds, usually in the kind of maternal roles for which she was extremely suited, many of them produced by her husband, although it would be mistaken to assume that someone with her obvious talent had to rely on Tanaka just to get a job. By the end of the 1960s she appears to have retired altogether, and concentrated on her family.3453 points
- Actress
- Second Unit Director or Assistant Director
- Costume and Wardrobe Department
Along with Hara Setsuko and Tanaka Kinuyo, Takamine Hideko remains one of Japan's most admired and prolific film actresses. Born as Hirayama Hideko in Hakodate, Hokkaido in northern Japan in 1924, she became a child actress for Shochiku Studio at age five appearing in the film Haha. She would go on to work with directors like Kinoshita, Ozu, and arguably most notably Naruse Mikio. Mid-career she had switched to P.C.L. Film Studio (later Toho Studios) and then become independent yet she would work for notable directors nonetheless. By the time she married director Matsuyama Zenzo in 1955 she had acquired a reputation as depicting feminist roles where women seek their independence or are oppressed. She died in 2010 of lung cancer, but had recorded songs and written biographies before her death.3441 points- Actress
- Director
- Writer
Ingrid trained as a ballet dancer and attended Stockholm's Royal Dramatic Theatre. She came to fame thanks to Bergman's "Wild Strawberries". She acted in 9 Ingmar Bergman's films. Her fame allowed her to act in Luchino Visconti's "The Damned" in 1969. Ingrid Thulin lived in Rome since the 1960's. She came back to Sweden for her health treatment recently.3396 points- Actress
- Writer
- Music Department
Marilyn Monroe was an American actress, comedienne, singer, and model. Monroe is of English, Irish, Scottish and Welsh descent. She became one of the world's most enduring iconic figures and is remembered both for her winsome embodiment of the Hollywood sex symbol and her tragic personal and professional struggles within the film industry. Her life and death are still the subjects of much controversy and speculation.
She was born Norma Jeane Mortenson at the Los Angeles County Hospital on June 1, 1926. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Because Gladys was mentally and financially unable to care for young Marilyn, Gladys placed her in the care of a foster family, The Bolenders. Although the Bolender family wanted to adopt Marilyn, Gladys was eventually able to stabilize her lifestyle and took Marilyn back in her care when Marilyn was 7 years old. However, shortly after regaining custody of Marilyn, Gladys had a complete mental breakdown and was diagnosed as a paranoid schizophrenic and was committed to a state mental hospital. Gladys spent the rest of her life going in and out of hospitals and rarely had contact with young Marilyn. Once Marilyn became an adult and celebrated as a film star, she paid a woman by the name of Inez Melson to look in on the institutionalized Gladys and give detailed reports of her progress. Gladys outlived her daughter, dying in 1984.
Marilyn was then taken in by Gladys' best friend Grace Goddard, who, after a series of foster homes, placed Marilyn into the Los Angeles Orphan's Home in 1935. Marilyn was traumatized by her experience there despite the Orphan's Home being an adequate living facility. Grace Goddard eventually took Marilyn back to live with her in 1937 although this stay did not last long as Grace's husband began molesting Marilyn. Marilyn went to live with Grace's Aunt Ana after this incident, although due to Aunt Ana's advanced age she could not care properly for Marilyn. Marilyn once again for the third time had to return to live with the Goddards. The Goddards planned to relocated and according to law, could not take Marilyn with them. She only had two choices: return to the orphanage or get married. Marilyn was only 16 years old.
She decided to marry a neighborhood friend named James Dougherty; he went into the military, she modeled, they divorced in 1946. She owned 400 books (including Tolstoy, Whitman, Milton), listened to Beethoven records, studied acting at the Actors' lab in Hollywood, and took literature courses at UCLA downtown. 20th Century Fox gave her a contract but let it lapse a year later. In 1948, Columbia gave her a six-month contract, turned her over to coach Natasha Lytess and featured her in the B movie Ladies of the Chorus (1948) in which she sang three numbers : "Every Baby Needs a Da Da Daddy", "Anyone Can Tell I Love You" and "The Ladies of the Chorus" with Adele Jergens (dubbed by Virginia Rees) and others. Joseph L. Mankiewicz saw her in a small part in The Asphalt Jungle (1950) and put her in All About Eve (1950) , resulting in 20th Century re-signing her to a seven-year contract. Niagara (1953) and Gentlemen Prefer Blondes (1953) launched her as a sex symbol superstar.
When she went to a supper honoring her in the The Seven Year Itch (1955) , she arrived in a red chiffon gown borrowed from the studio (she had never owned a gown). That same year, she married and divorced baseball great Joe DiMaggio (their wedding night was spent in Paso Robles, California). After The Seven Year Itch (1955) , she wanted serious acting to replace the sexpot image and went to New York's Actors Studio. She worked with director Lee Strasberg and also underwent psychoanalysis to learn more about herself. Critics praised her transformation in Bus Stop (1956) and the press was stunned by her marriage to playwright Arthur Miller . True to form, she had no veil to match her beige wedding dress so she dyed one in coffee; he wore one of the two suits he owned. They went to England that fall where she made The Prince and the Showgirl (1957) with Laurence Olivier , fighting with him and falling further prey to alcohol and pills. Two miscarriages and gynecological surgery followed. So had an affair with Yves Montand . Work on her last picture The Misfits (1961) , written for her by departing husband Miller, was interrupted by exhaustion. She was dropped from the unfinished Something's Got to Give (1962) due to chronic lateness and drug dependency.
On August 4, 1962, Marilyn Monroe's day began with threatening phone calls. Dr. Ralph Greenson, Marilyn's physician, came over the following day and quoted later in a document "Felt it was possible that Marilyn had felt rejected by some of the people she had been close to." Apart from being upset that her publicist slept too long, she seemed fine. Pat Newcombe, who had stayed the previous night at Marilyn's house, left in the early evening as did Greenson who had a dinner date. Marilyn was upset he couldn't stay, and around 7:30pm she telephoned him to say that her second husband's son had called her. Peter Lawford also called Marilyn, inviting her to dinner, but she declined. Lawford later said her speech was slurred. As the evening went on there were other phone calls, including one from Jose Belanos, who said he thought she sounded fine. According to the funeral directors, Marilyn died sometime between 9:30pm and 11:30pm. Her maid unable to raise her but seeing a light under her locked door, called the police shortly after midnight. She also phoned Ralph Greenson who, on arrival, could not break down the bedroom door. He eventually broke in through French windows and found Marilyn dead in bed. The coroner stated she had died from acute barbiturate poisoning, and it was a 'probable suicide' though many conspiracies would follow in the years after her death.3389 points- Actress
- Soundtrack
Lauren Bacall was born Betty Joan Perske on September 16, 1924, in New York City. She was the daughter of Natalie Weinstein-Bacal, a Romanian Jewish immigrant, and William Perske, who was born in New Jersey, to Polish Jewish parents. Her family was middle-class, with her father working as a salesman and her mother as a secretary. They divorced when she was five and she rarely saw her father after that.
As a school girl, she originally wanted to be a dancer, but later switched gears to head into acting. She studied at the American Academy of Dramatic Arts in New York, after attending She was educated at Highland Manor, a private boarding school in Tarrytown, New York (through the generosity of wealthy uncles), and then at Julia Richman High School, which enabled her to get her feet wet in some off-Broadway productions.
Out of school, she entered modeling and, because of her beauty, appeared on the cover of Harper's Bazaar, one of the most popular magazines in the US. The wife of famed director Howard Hawks spotted the picture in the publication and arranged with her husband to have Lauren take a screen test. As a result, which was entirely positive, she was given the part of Marie Browning in To Have and Have Not (1944), a thriller opposite Humphrey Bogart, when she was just 19 years old. This not only set the tone for a fabulous career but also one of Hollywood's greatest love stories (she married Bogart in 1945). It was also the first of several Bogie-Bacall films.
After 1945's Confidential Agent (1945), Lauren received second billing in The Big Sleep (1946) with Bogart. The mystery, in the role of Vivian Sternwood Rutledge, was a resounding success. Although she was making one film a year, each production would be eagerly awaited by the public. In 1947, again with her husband, Lauren starred in the thriller Dark Passage (1947). The film kept movie patrons on the edge of their seats. The following year, she starred with Bogart, Edward G. Robinson, and Lionel Barrymore in Key Largo (1948). The crime drama was even more of a nail biter than her previous film.
In 1950, Lauren starred in Bright Leaf (1950), a drama set in 1894. It was a film of note because she appeared without her husband - her co-star was Gary Cooper. In 1953, Lauren appeared in her first comedy as Schatze Page in How to Marry a Millionaire (1953). The film, with co-stars Marilyn Monroe and Betty Grable, was a smash hit all across the theaters of America.
After filming Designing Woman (1957), which was released in 1957, Humphrey Bogart died on January 14 from throat cancer. Devastated at being a widow, Lauren returned to the silver screen with The Gift of Love (1958) in 1958 opposite Robert Stack. The production turned out to be a big disappointment. Undaunted, Lauren moved back to New York City and appeared in several Broadway plays to huge critical acclaim. She was enjoying acting before live audiences and the audiences in turn enjoyed her fine performances.
Lauren was away from the big screen for five years, but she returned in 1964 to appear in Shock Treatment (1964) and Sex and the Single Girl (1964). The latter film was a comedy starring Henry Fonda and Tony Curtis. In 1966, Lauren starred in Harper (1966) with Paul Newman and Julie Harris, which was one of former's signature films.
Alternating her time between films and the stage, Lauren returned in 1974's Murder on the Orient Express (1974). The film, based on Agatha Christie's best-selling book was a huge hit. It also garnered Ingrid Bergman her third Oscar. Actually, the huge star-studded cast helped to ensure its success. Two years later, in 1976, Lauren co-starred with John Wayne in The Shootist (1976). The film was Wayne's last - he died from cancer in 1979. In late 1979, Lauren appeared with her good friend, James Garner, in a double episode, Lions, Tigers, Monkeys and Dogs (1979), of his Rockford Files series.
For Lauren's next film role, she appeared in a large ensemble film, HealtH (1980), which again paired her with James Garner, and in 1981, she played an actress being stalked by a crazed admirer in The Fan (1981). The thriller was absolutely fascinating with Lauren in the lead role, again playing opposite her good friend James Garner, making three straight screen roles with Lauren opposite James Garner. After that production, Lauren was away from films again, this time for seven years. In the interim, she again appeared on the stages of Broadway. When she returned, it was for the filming of 1988's Appointment with Death (1988) and Mr. North (1988). After 1990's Misery (1990) and several made for television films, Lauren appeared in 1996's My Fellow Americans (1996), a comedy romp with Jack Lemmon and James Garner as two ex-presidents and their escapades. In 1997, Lauren appeared in The Mirror Has Two Faces (1996), in one of the best roles of her later career, opposite Barbra Streisand, where Lauren was nominated as Best Actress in a Supporting Role by both the Academy and the Golden Globes, winning the Golden Globe for the role.
Despite her age and failing health, she made a small-scale comeback in the English-language dub of Hayao Miyazaki's Howl's Moving Castle (2004) ("Howl's Moving Castle," based on the young-adult novel by Diana Wynne Jones) as the Witch of the Waste, and several other roles through 2008, but thereafter acting endeavors for the beloved actress became increasingly rare. Lauren Bacall died on 12 August 2014, five weeks short of her 90th birthday.3348 points- Actress
- Soundtrack
One of Hollywood's more talented and watchable stars on screen was sullen and thin 50s actress Jan Sterling who didn't quite reach the top echelon of stardom but certainly ensured audiences of a real good time with her sexy pout and flashy style in soaps, film noir and saucy comedy.
Jan was born Jane Sterling Adriance in Manhattan in 1921 to a well-to-do family. Her father was a prominent advertising executive who divorced her mother when the girl was only eight years old. Her mother remarried (to an oilman) when Jan was still a youngster and the family relocated abroad where Jan was schooled by private tutors in Brazil, then later in London and Paris.
Although both sets of parents disapproved, Jan, who by this time possessed a strong British accent, set her sites on acting and was eventually enrolled in Fay Compton's dramatic school in London. A strong-minded young lady with a heartfelt passion for the arts, she returned to Manhattan to conquer Broadway and by the age of 17 had found her first ingénue role in "Bachelor Born," playing (naturally) a young British lady. Over the next 11 years, Jan dominated Broadway as proper British ladies while billing herself as "Jane Adrian."
One of her highlights was working with the legendary Ruth Gordon in 1942 in Gordon's first play entitled "Over 21." As Billie Dawn in the Chicago company of "Born Yesterday," Jan bowled over the critics and seemed almost a shoo-in to do the 1950 film version but she lost out in the end to Judy Holliday. The ash-blonde broke quickly into films supporting Oscar-winning Jane Wyman in Johnny Belinda (1948) in a key, emotional role.
To her absolute delight, she left the docile, ladylike image behind her and was allowed to dig her nails into a florid array of cheap floozies, hard-bitten dames, and lethal schemers and stood out well with 'bad girl' parts in the films Caged (1950), Ace in the Hole (1951), Flesh and Fury (1952), The Human Jungle (1954), and Female on the Beach (1955). In between she occasionally made a nicer, or at least a more sympathetic, impression in the movies Sky Full of Moon (1952) and The High and the Mighty (1954), the latter earning her an Oscar nomination.
Married to and divorced from actor John Merivale in the 1940s, Jan later married gruff film star Paul Douglas in 1950. The couple moved away from the Hollywood scene in Burlington, Vermont. The couple appeared together professionally on occasional TV shows and Douglas revived his "Born Yesterday" Harry Brock role with a stage tour starring Jan in the Billie Dawn part. It and they were a solid hit.
Jan's career slowed down considerably after the sudden death of her 52-year-old second husband in 1959. He suffered a massive heart attack at their Hollywood home. She refocused on stage and TV but at a slower step. Incidental filming occurred on occasion, including support roles in Love in a Goldfish Bowl (1961) and The Incident (1967). She also involved herself in humanitarian causes. In the late 1960s she moved to London, England and in the 1970s, she entered into a strong personal relationship with actor Sam Wanamaker. An isolated film role came her way with a small part in First Monday in October (1981). They never married but stayed together until his death in 1993.
Inactive for nearly two decades, Jan made an appearance at the Cinecon Film Festival in Los Angeles in the fall of 2001, still charming audiences at the age of 80. On 26 March 2004, she passed away at the Motion Picture and Television Hospital in Woodland Hills, California. She was 82.3276 points- Actor
- Writer
- Soundtrack
Sir Dirk Bogarde, distinguished film actor and writer, was born Derek Jules Gaspard Ulric Niven van den Bogaerde on March 28, 1921, to Ulric van den Bogaerde, the art editor of "The Times" (London) newspaper, and actress Margaret Niven in the London suburb of Hampstead. He was one of three children, with sister Elizabeth and younger brother Gareth. His father was Flemish and his mother was of Scottish descent.
Ulric Bogaerde started the Times' arts department and served as its first art editor. Derek's mother, Margaret - the daughter of actor and painter Forrest Niven - appeared in the play "Bunty Pulls The Strings", but she quit the boards in accordance with her husband's wishes. The young Derek Bogaerde was raised at the family home in Sussex by his sister, Elizabeth, and his nanny, Lally Holt.
Educated at the Allen Glen's School in Glasgow, he also attended London's University College School before majoring in commercial art at Chelsea Polytechnic, where his teachers included Henry Moore. Though his father wanted his eldest son to follow him into the "Times" as an art critic and had groomed him for that role, Derek dropped out of his commercial art course and became a drama student, though his acting talent at that time was unpromising. In the 1930s he went to work as a commercial artist and a scene designer.
He apprenticed as an actor with the Amersham Repertory Company, and made his acting debut in 1939 on a small London stage, the Q Theatre, in a role in which he delivered only one line. His debut in London's West End came a few months later in J.B. Priestley's play "Cornelius," in which he was billed as "Derek Bogaerde". He made his uncredited debut as an extra in the pre-war George Formby comedy Come on George! (1939).
The September 1939 invasion of Poland by Nazi Germany and the Soviet Union triggered World War II, and in 1940 Bogarde joined the Queen's Royal Regiment as an officer. He served in the Air Photographic Intelligence Unit and eventually attained the rank of major. Nicknamed "Pippin" and "Pip" during the war, he was awarded seven medals in his five years of active duty. He wrote poems and painted during the war, and in 1943, a small magazine published one of his poems, "Steel Cathedrals," which subsequently was anthologized. His paintings of the war are part of the Imperial War Museum's collection.
Similar to his character, Captain Hargreaves, in King & Country (1964), he was called upon to put a wounded soldier out of his misery, a tale recounted in one of his seven volumes of autobiography. While serving with the Air Photographic Intelligence Unit, he took part in the liberation of the Bergen-Belsen concentration camp, which he said was akin to "looking into Dante's Inferno".
In one of his autobiographies, he wrote, "At 24, the age I was then, deep shock stays registered forever. An internal tattooing which is removable only by surgery, it cannot be conveniently sponged away by time."
After being demobilized, he returned to acting. His agent re-christened him "Dirk Bogarde," a name that he would make famous within a decade. In 1947 he appeared in "Power Without Glory" at the New Lindsay Theatre, a performance that was praised by Noël Coward, who urged him to continue his acting career. The Rank Organization had signed him to a contract after a talent scout saw him in the play, and he made his credited movie debut in Dancing with Crime (1947) with a one-line bit as a policeman.
His first lead in a movie came that year when Wessex Films, distributed by Rank, gave him a part in the proposed Stewart Granger film Sin of Esther Waters (1948). When Granger dropped out, Bogarde took over the lead. Rank subsequently signed him to a long-term contract and he appeared in a variety of parts during the 14 years he was under contract to the studio.
For three years he toiled in Rank movies as an apprentice actor without making much of a ripple; then in 1950, he was given the role of young hood Tom Riley in the crime thriller The Blue Lamp (1950) (the title comes from the blue-colored light on police call-boxes in London), the most successful British film of 1950, which established Bogarde as an actor of note. Playing a cop killer, an unspeakable crime in the England of the time, it was the first of the intense neurotics and attractive villains that Bogarde would often play.
He continued to act on-stage, appearing in the West End in Jean Anouilh's "Point of Departure". While he was praised for his performance, stage acting made him nervous, and as he became more famous, he began to be mobbed by fans. The pressure of the public adulation proved overwhelming, particularly as he suffered from stage fright. He was accosted by crowds of fans at the stage door during the 1955 touring production of "Summertime," and his more enthusiastic admirers even shouted at him during the play. He was to appear in only one more play, the Oxford Playhouse production of "Jezebel," in 1958. He never again took to the boards, despite receiving attractive offers.
He first acted for American expatriate director Joseph Losey in The Sleeping Tiger (1954). Losey, a Communist and self-described Stalinist at the time, had emigrated to England after being blacklisted in Hollywood after he refused to direct The Woman on Pier 13 (1949) at RKO Pictures, which was owned by right-wing multi-millionaire Howard Hughes at the time, and he was accused in testimony before the House Un-American Activities Committee of being a Communist. The director, like Bogarde, would not find his stride until the early 1960s, and Losey and Bogarde would build their reputations together.
First, however, Losey had to overcome Bogarde's reluctance to star in a low-budget film (shot for $300,000) with a blacklisted American director. Losey, who had never heard of Bogarde until he was proposed for the film, met with him and asked Bogarde to view one of his pictures. After seeing the film, Bogarde was enthusiastic, and Losey talked him into taking the role, which he accepted at a reduced fee (Losey originally was not credited with directing the film due to his being blacklisted in the States). A decade later they would make more memorable films that would be watersheds in their careers.
It was not drama but comedy that made Dirk Bogarde a star. He achieved the first rank of English movie stardom playing Dr. Simon Sparrow in the comedy Doctor in the House (1954). The film was a smash hit, becoming one of the most popular British films in history, with 17 million admissions in its first year of release. As Sparrow, Bogarde became a heartthrob and the most popular British movie star of the mid-50s. He reprised the character in Doctor at Sea (1955), Doctor at Large (1957).
The title of the latter film may have described his mood as a serious actor having to do another turn as Dr. Sparrow between his career-making performances in Losey's The Servant (1963), with a script by Harold Pinter, and Losey's adaptation of the stage play King & Country (1964), in which Bogarde memorably played the attorney for a young deserter (played by Tom Courtenay).
Bogarde, hailed as "the idol of the Odeons" in honor of his box-office clout, was offered the role of Jimmy Porter in Look Back in Anger (1959) by producer Harry Saltzman and director Tony Richardson, based on the play that touched off the "Angry Young Man" and "Kitchen Sink School" of contemporary English drama in the 1950s. Though Bogarde wanted to take the part, Rank refused to let him make the film on the grounds that there was "altogether too much dialog." The part went to Richard Burton instead, who went over-the-top in portraying his very angry, not-so-young man.
After this disappointment, Bogarde went to Hollywood to play Franz Liszt in Song Without End (1960) and to appear in Nunnally Johnson's Spanish Civil War drama The Angel Wore Red (1960) with Ava Gardner. Both were big-budgeted films, but hampered by poor scripts, and after both films failed, Bogarde avoided Hollywood from then on.
He was reportedly quite smitten with his French "Song Without End" co-star Capucine, and wanted to marry her. Capucine, who suffered from bi-polar disorder, was bisexual with an admitted preference for women. The relationship did not lead to marriage, but did result in a long-term friendship. It apparently was his only serious relationship with a woman, though he had many women friends, including his I Could Go on Singing (1963) co-star Judy Garland.
In the early 1960s, with the expiration of his Rank contract, Bogarde made the decision to abandon his hugely successful career in commercial movies and concentrate on more complex, art house films (at the same time, Burt Lancaster made a similar decision, though Lancaster continued to alternate his artistic ventures with more crassly commercial endeavors). Bogarde appeared in Basil Dearden's seminal film Victim (1961), the first British movie to sympathetically address the persecution of homosexuals. His career choice alienated many of his old fans, but he was no longer interested in being a commercial movie star; he, like Lancaster, was interested in developing as an actor and artist (however, that sense of finding himself as an actor did not extend to the stage. His reputation was such in 1963 that he was invited by National Theatre director Laurence Olivier to appear as Hamlet to open the newly built Chichester Festival Theatre. That production of the eponymous play also was intended to open the National Theatre's first season in London. Bogarde declined, and the honor went instead to Peter O'Toole, who floundered in the part.)
Jack Grimston, in Bogarde's "Sunday Times" obituary of May 9, 1999, entitled "Bogarde, a solitary star at the edge of the spotlight," said of the late actor that he "belonged to a group that was rare in the British cinema. He was a fine screen player who owed little to the stage. Dilys Powell, the Sunday Times film critic, wrote of him before her own death: 'Most of our gifted film players really belonged to the theater. Bogarde belonged to the screen.'" Bogarde had won the London Critics Circle's Dilys Powell award for outstanding contribution to cinema in 1992.
Appearing in "Victim" was a huge career gamble. In the film, Bogarde played a married barrister who is being blackmailed over his closeted homosexuality. Rather than let the blackmail continue, and allow the perpetrators to victimize other gay men, Bogarde's character effectively sacrifices himself, specifically his marriage and his career, by bravely confessing to be gay (homosexuality was an offence in the United Kingdom until 1967, and there reportedly had been a police crackdown against homosexuals after World War II which made gay men particularly vulnerable to blackmail).
The film was not released in mainstream theaters in the US, as the Production Code Administration (PCA) refused to classify the film and most theaters would not show films that did not carry the PCA seal of approval. "Victim" was the antithesis of the light comedy of Bogarde's "Doctor" movies, and many fans of his character Simon Sparrow were forever alienated by his portrayal of a homosexual. For himself, Bogarde was proud of the film and his participation in it, which many think stimulated public debate over homosexuality. The film undoubtedly raised the public consciousness over the egregious and unjust individual costs of anti-gay bigotry. The public attitude towards the "love that dared not speak its name" changed enough so that within six years, the 1967 Sexual Offences Act decriminalizing homosexual acts between adults passed Parliament. Bogarde reported that he received many letters praising him for playing the role. His courage in taking on such a role is even more significant in that he most likely was gay himself, and thus exposed himself to a backlash.
Bogarde always publicly denied he was a homosexual, though later in life he did confess that he and his manager, Anthony Forwood, had a long-term relationship. When Bogarde met him in 1939, Forwood was a theatrical manager, who eventually married and divorced Glynis Johns. Forwood became Bogarde's friend and subsequently his life partner, and the two moved to France together in 1968. They bought a 15th-century farmhouse near Grasse in Provence in the early 1970s, which they restored. Bogarde and Forwood lived in the house until 1983, when they returned to London so that Forwood could be treated for cancer, from which he eventually died in 1988. Bogarde nursed him in the last few months of his life. After Forwood died, Bogarde was left rudderless and he became more reclusive, eventually retiring from films after Daddy Nostalgia (1990).
Mark Rowe and Jeremy Kay, in their obituary of Bogarde, "Two brilliant lives - on film and in print," published in "The Independent" on May, 9, 1999, wrote, "Although he documented with frankness his early sexual encounters with girls and later his adoring love for Kay Kendall and Judy Garland, he never wrote about his longest and closest relationship - with his friend and manager for more than 50 years, Tony Forwood. Sir Dirk said the clues to his private life were in his books. "If you've got your wits about you, you will know who I am." The British documentary The Private Dirk Bogarde: Part One (2001) made with the permission of his family, stressed the fact that he and Forwood were committed lifelong partners.
In the same issue, the National Film Theatre's David Thompson, in the article "The public understood he was essentially gay," wrote about Bogarde at his high-water mark in the 1950s, that "Audiences of that time loved him . . . Very few people picked up on the fact that there was a distinct gay undertone. It says something about British audiences of the time. He had the good fortune to break out of that prison, and it came through the film Victim (1961), where he played a gay character, and through meeting with Joseph Losey, who directed him in The Servant (1963). For the first time, Bogarde's ambivalence was exploited and used by film."
Bogarde's sexuality is not the issue; what was striking was that it was an act of personal courage for one of Britian's leading box-office attractions to appear in such a provocative and controversial film. Even in the 21st century, many mainstream actors are afraid to play a gay character lest they engender a public backlash against themselves, which is much less likely than it was more than 40 years ago when Bogarde made "Victim."
Apart from sociology, "Victim" marks the milestone in which critics and audiences could discern the metamorphosis of Bogarde into the mature actor who went on to become one of the cinema's finest performers. Most of Bogarde's best and most serious roles come after "Victim," the film in which he first stretched himself and broke out of the mold of "movie star." He received the first of his six nominations as Best Actor from the British Academy of Film & Television Arts (BAFTA) for the film.
Bogarde co-starred with John Mills in The Singer Not the Song (1961), and with Alec Guinness in Damn the Defiant! (1962) (a.k.a. "Damn the Defiant!"). In 1963 he reunited with Losey to film the first of two Losey films with screenplays by Pinter. Bogarde's participation in the two Losey/Pinter collaborations, The Servant (1963) and Accident (1967), in addition to 1964's "King & Country", solidified his reputation. Critics and savvy moviegoers appreciated the fact that Bogarde had developed into a first-rate actor. For his role as the eponymous servant, Bogarde won BAFTA's Best Actor Award. He had now "officially" arrived in the inner circle of the best British film actors.
These three films also elevated Losey into the ranks of major directors (Bogarde also starred in Losey's 1966 spy spoof Modesty Blaise (1966), but that film did little to enhance either man's reputation. He turned down the opportunity to appear in Losey's The Assassination of Trotsky (1972) due to the poor quality of the script).
Philip French, in his obituary "Dark, exotic and yet essentially English", published in "The Observer" on May 9, 1999, said of Bogarde, "Losey discovered something more complex and sinister in his English persona and his performance as Barrett, the malevolent valet in 'The Servant,' scripted by Harold Pinter, is possibly the most subtle, revealing thing he ever did - by confronting his homosexuality in a non-gay context."
Losey told interviewer Michel Ciment that his work with Bogarde represented a turning point in the actor's career, when he developed into an actor of depth and power. He also frankly admitted to Ciment that without Bogarde, his career would have stagnated and never reached the heights of success and critical acclaim that it did in the 1960s.
Interestingly during the filming of "The Servant." Losey was hospitalized with pneumonia. He asked Bogarde to direct the film in order to keep shooting so that the producers would not cancel the film. A reluctant Bogarde complied with Losey's wishes and directed for ten days. He later said that he would never direct again.
Bogarde co-starred with up-and-coming actress Julie Christie in John Schlesinger's Darling (1965), for which Christie won a Best Actress Oscar and was vaulted into 1960s cinema superstardom. During the filming of the movie, both Bogarde and Christie were waiting to hear whether they would be cast as Yuri Zhivago and his lover Lara in David Lean's upcoming blockbuster Doctor Zhivago (1965). Christie got the call, Bogarde didn't, but he was well along in the process of establishing himself as one of the screen's best and most important actors. He won his second BAFTA Best Actor Award for his performance in "Darling."
Bogarde went on to major starring roles in such important pictures as The Fixer (1968), for which Alan Bates won a Best Actor Academy Award nomination. While Bogarde never was nominated for an Oscar, he had the honor of starring in two films for Luchino Visconti, The Damned (1969) ("The Damned") and Death in Venice (1971), based on Thomas Mann's novella "Death in Venice." Bogarde felt that his performance as Gustav von Aschenbach, the dying composer in love with a young boy and with the concept of beauty, in "Death in Venice" was the "the peak and end of my career . . . I can never hope to give a better performance in a better film."
Visconti told Bogarde that when the lights went up in a Los Angeles screening room after a showing of "Death in Venice" for American studio executives, no one said anything. The silence encouraged Visconti, who believed it meant that the executives were undergoing a catharsis after watching his masterpiece. However, he soon realized that, in Bogarde's own words, "Apparently they were stunned into horrified silence . . . A group of slumped nylon-suited men stared dully at the blank screen." One nervous executive, feeling something should be said, got up and asked, "Signore Visconti, who was responsible for the score of the film?"
"Gustav Mahler," Visconti replied.
"Just great!", said the nervous man. "I think we should sign him."
After "Venice", Bogarde made only seven films over the next two decades and was scathing about the quality of the scripts he was offered. To express himself artistically, he began to write. In his third volumes of autobiography, he wrote, "No longer do the great Jewish dynasties hold power: the people who were, when all is said and done, the Picture People. Now the cinema is controlled by vast firms like Xerox, Gulf & Western, and many others who deal in anything from sanitary-ware to property development. These huge conglomerates, faceless, soulless, are concerned only with making a profit; never a work of art . . . "
He rued the fact that "it is pointless to be 'superb' in a commercial failure; and most of the films which I had deliberately chosen to make in the last few years were, by and large, just that. Or so I am always informed by the businessmen. The critics may have liked them extravagantly, but the distributors shy away from what they term 'A Critic's Film', for it often means that the public will stay away. Which, in the mass, they do: and if you don't make money at the box-office you are not asked back to play again."
However, the courageous artist was not to be daunted: "But I'd had very good innings. Better than most. So what the hell?" His well-written works were enthusiastically received by critics and the book-buying public.
Bogarde appeared in another film that flirted with the theme of German fascism, Liliana Cavani's highly controversial The Night Porter (1974) ("The Night Porter"). He played an ex-SS officer who encounters a woman with whom he had been engaged in a sado-masochistic affair at a World War II Nazi extermination camp. Many critics found the film, which featured extensive nudity courtesy of Charlotte Rampling, crassly offensive, but no one faulted Bogarde's performance.
He played Lt. Gen. Frederick "Boy" Browning in the all-star blockbuster A Bridge Too Far (1977). Although some of his fellow actors were World War II veterans, only Bogarde had been involved in the actual battle. His performance arguably is the best in the film. Appearing in Alain Resnais' art house hit Providence (1977) gave Bogarde the opportunity to co-star with John Gielgud. He also starred in German wunderkind Rainer Werner Fassbinder's adaptation of Vladimir Nabokov's Despair (1978), with a script by Tom Stoppard. Though the film was not much of a critical success, Bogarde's acting as 1930s German businessman Hermann Hermann, a man who chooses to go mad when faced with the paradoxes of his life in his proto-fascist fatherland, was highly praised.
Bogarde enjoyed working with Fassbinder. He wrote that "Rainer's work was extraordinarily similar to that of Visconti's; despite their age difference, they both behaved, on set, in much the same manner. Both had an incredible knowledge of the camera: the first essential. Both knew how it could be made to function; they had the same feeling for movement on the screen, of the all-important (and often-neglected) 'pacing' of a film, from start to finish, of composition, of texture, and probably most of all they shared that strange ability to explore and probe into the very depths of the character which one had offered them."
After his experience with Fassbinder, he acted only four more times, twice in feature films and twice on television. Bogarde was nominated for a Golden Globe for playing Roald Dahl in The Patricia Neal Story (1981). He got rave reviews playing Jane Birkin's father in Bertrand Tavernier's Daddy Nostalgia (1990), his last film.
In 1984 Bogarde was asked to serve as president of the jury at the Cannes Film Festival, a huge honor for the actor, as he was the first Briton ever to serve in that capacity. Two years earlier he had been made a Chevalier de l'Ordre des lettres 1982. A decade later, he was knighted by Queen Elizabeth II on February 13, 1992.
Bogarde won two Best Actor Awards out of six nominations from the British Academy of Film & Television Arts, for "The Servant" and "Darling" in 1964 and 1966, respectively. He was also nominated in 1962 for "Victim," in 1968 for "Accident" and Our Mother's House (1967) and in 1972 for "Morte a Venezia."
Bogarde suffered a stroke in 1996, and though it rendered him partially paralyzed, he was able to recover and live in his own flat in Chelsea. However, by May of 1998 he required around-the-clock nursing care, and he had his lawyers draw up a "living will," also known as a no-resuscitation order. Bogarde publicly came out in favor of voluntary euthanasia, becoming Vice President of the Voluntary Euthanasia Society. He publicly addressed the subject of his own "living will," which ordered that no extraordinary measures be taken to keep him alive should he become terminally ill.
The living will proved unnecessary. Dirk Bogarde died of a heart attack on May 8, 1999, in his home in Chelsea, London, England. According to his nephew Brock Van den Bogaerde, the family planned to hold a private funeral but no memorial service in accordance with his uncle's wish "just to forget me." Bogarde wanted to be cremated and have his ashes scattered in France, and accordingly, his remains were returned to Provence.
Margaret Hinxman, in her May 10, 1999, obituary in "The Guardian", said of him, "At his peak and with directors he trusted - Joseph Losey, Luchino Visconti and Alain Resnais - Dirk Bogarde . . . was probably the finest, most complete, actor on the screen."
Clive Fisher's obituary in "The Independent" on May 10, 1999, praised Bogarde as "a major figure because, wherever they were made, his finest films are all somehow about him. He was a great self-portraitist and the screen persona he fashioned, a stylization of his private being, not only dominated its surroundings but spoke subliminally and powerfully to British audiences about the tensions of the time, about connivances and cruel respectabilities of England in the Fifties and Sixties."
The secret of Dirk Bogarde's success as a great cinema actor was his intimate relationship with the camera. Bogarde believed that the key to acting on film was the eyes, specifically, the "look" of the actor. Like Alan Ladd, it didn't matter if an actor was good with line readings if they had mastery over the "look." For many critics and movie-goers at the end of the 20th century, Dirk Bogarde's face epitomized the "look" of Britain in the tumultuous decades after the Second World War.
David Tindle's portrait of Bogarde is part of the collection of London's National Portrait Gallery, London. In 1999, the portrait, on temporary loan, was displayed at 10 Downing Street, the Prime Minister's official residence, with other modern works of art. Officially, Dirk Bogarde had become the look of Britain.3222 points- Actress
- Soundtrack
Anne Baxter was born in Michigan City, Indiana, on May 7, 1923. She was the daughter of a salesman, Kenneth Stuart Baxter, and his wife, Catherine Dorothy (Wright), who herself was the daughter of Frank Lloyd Wright, the world-renowned architect. Anne was a young girl of 11 when her parents moved to New York City, which at that time was still the hub of the entertainment industry even though the film colony was moving west. The move there encouraged her to consider acting as a vocation. By the time she was 13 she had already appeared in a stage production of 'Seen but Not Heard'", and had garnered rave reviews from the tough Broadway critics. The play helped her gain entrance to an exclusive acting school.
In 1937, Anne made her first foray into Hollywood to test the waters there in the film industry. As she was thought to be too young for a film career, she packed her bags and returned to the New York stage with her mother, where she continued to act on Broadway and summer stock up and down the East Coast. Undaunted by the failure of her previous effort to crack Hollywood, Anne returned to California two years later to try again. This time her luck was somewhat better. She took a screen test which was ultimately seen by the moguls of Twentieth Century-Fox, and she was signed to a seven-year contract. However, before she could make a movie with Fox, Anne was loaned out to MGM to make 20 Mule Team (1940). At only 17 years of age, she was already in the kind of pictures that other starlets would have had to slave for years as an extra before landing a meaty role. Back at Fox, that same year, Anne played Mary Maxwell in The Great Profile (1940), which was a box-office dud. The following year she played Amy Spettigue in the remake of Charley's Aunt (1941). It still wasn't a great role, but it was better than a bit part. The only other film job Anne appeared in that year was in Swamp Water (1941). It was the first role that was really worth anything, but critics weren't that impressed with Anne, her role nor the movie. In 1942 Anne played Joseph Cotten's daughter, Lucy Morgan, in The Magnificent Ambersons (1942). The following year she appeared in The North Star (1943), the first film where she received top billing. The film was a critical and financial success and Anne came in for her share of critical plaudits. Guest in the House (1944) the next year was a dismal failure, but Sunday Dinner for a Soldier (1944) was received much better by the public, though it was ripped apart by the critics. Anne starred with John Hodiak, who would become her first husband in 1947 (Anne was to divorce Hodiak in 1954. Her other two husbands were Randolph Galt and David Klee).
In 1946 Anne portrayed Sophie MacDonald in The Razor's Edge (1946), a film that would land her an Academy Award for Best Supporting Actress. She had come a long way in so short a time, but for her next two films she was just the narrator: Mother Wore Tights (1947) and Blaze of Noon (1947). It would be 1950 before she landed another decent role--the part of Eve Harrington in All About Eve (1950). This film garnered Anne her second nomination, but she lost the Oscar to Judy Holliday for Born Yesterday (1950). After several films through the 1950s, Anne landed what many considered a plum role--Queen Nefretiri in Cecil B. DeMille's The Ten Commandments (1956). Never in her Hollywood career did Anne look as beautiful as she did as the Egyptian queen, opposite Charlton Heston and Yul Brynner. After that epic, job offers got fewer because she wasn't tied to a studio, instead opting to freelance her talents. After no appearances in 1958, she made one film in 1959 Season of Passion (1959) and one in 1960 Cimarron (1960).
After Walk on the Wild Side (1962), she took a hiatus from filming for the next four years. She was hardly idle, though. She appeared often on stage and on television. She wasn't particularly concerned with being a celebrity or a personality; she was more concerned with being just an actress and trying hard to produce the best performance she was capable of. After several notable TV appearances, Anne became a staple of two television series, East of Eden (1981) and Hotel (1983). Her final moment before the public eye was as Irene Adler in the TV film Sherlock Holmes and the Masks of Death (1984). On December 12, 1985, Anne died of a stroke in New York. She was 62.3204 points- Michel Bouquet was born in the 14th arrondissement of Paris on the 6 November 1925. His father, Georges Bouquet, was a World War One veteran and a wine-maker. His mother Marie was a milliner. He had three older brothers: Georges, Bernard and Serge. Michel's father was always a shadowy figure in his life: having been deeply affected by the war, he used to talk very little and developed a very distant and estranged relationship with his sons. When he was 7 years old, Michel was sent to the "École Privée Catholique Fénelon", a Catholic boarding school located inside a 17th century hunting lodge in Vaujours. He would keep very unpleasant memories of this period his entire life, describing it as "seven years of darkness and loneliness". Being used to receive corporal punishment or other cruel and unusual forms of penalty for absurd reasons -like keeping his arms crossed in a supposedly insolent way- and to be bullied by older boys, Michel chose to withdraw into himself and dream of exciting, picaresque adventures far away from the school. This approach to life would help him developing his trademark internalized acting style. Repelled by studying, he actually used to enjoy being put in detention, so that he didn't have to mingle with the other boys: the adult Bouquet would later call his younger self "a sweet kid with an anarchic touch". In 1939, Michel came home for the summer with a mediocre school study certificate. He would however never return to the boarding school, since France and England declared war to Germany on the 3rd September. Georges Senior was immediately sent to the front and made a prisoner in Pomerania shortly after. Bernard went to war as well while Georges Jr. had already been sent to a religious school in Carthage. On the 14th June 1940 the German troops entered Paris and Marie soon decided to relocate to Lyon with her two remaining sons. They moved with Michel's paternal aunt, Marguerite. Marie didn't want to be a weight for her sister-in-law, so she spurred her sons to find some work to do. Michel became an errand boy in a bakery: having been toughened by his stay at the boarding school, he now felt ready to help his mother facing the adversities of life and raising the family. When the armistice between France and Germany was signed, Marie and her sons returned to Paris. Michel tried several new jobs in this period, including warehouseman, dental laboratory technician and delivery man in a bank. He was soon, however, to find his real vocation in life. Marie was a great theatre lover and had the habit to bring Michel to see operas, comic operas or great classic plays. He immediately realized that he wanted to be an actor when he saw the legendary Comédie-Française luminary Maurice Escande playing Louis XV in a stage production of "Madame Quinze". So, in May 1943, he decided to look Escande's address on the phone book and, on a Sunday morning, he went to visit him at his place while Marie was attending church. Young Bouquet introduced himself to the actor by telling him that he wanted to work on the stage. Escande asked him if he had memorized a piece to recite. Michel tried the nose monologue from "Cyrano", but the theatre veteran asked him if he hadn't learnt any other thing that suited his physical appearance better. So he started to recite a few verses from Alfred de Musset's "La Nuit de Décembre" instead. After hearing a couple lines only, Escande realized that the young man standing before him possessed enormous gifts and decided to immediately bring him to one of his classes at the Edouard-VII Theatre. There, Michel was allowed to finish the "Nuit de Décembre" monologue in a room full of people. Many students were ready to leave the class with a look of indifference, but Escande reproached them, telling them that they should have better listened to Michel and learnt a lesson from him. Although moved to tears, Michel managed to finish his piece. The great Maurice Escande had named him an actor. At the end of the lesson, Escande brought Michel home and convinced Marie that he had to pursue a stage career.
Bouquet began to learn scenes from many important plays in order to be admitted to the CNSAD (the Paris Conservatoire). When the day of the exam at the Théâtre de l'Odéon finally came, he already knew that only 7 students out of 300 would have been accepted. For his test, he had studied the monologue from Alfred de Vigny's "Chatterton" and one of Smerdiakov's dialogues from Jacques Copeau's "The Brothers Karamazov". The same day, someone else was going to audition in front of the same jury: it was an elegant young man wearing camel, who possessed, in Bouquet's eyes, a certain charm à la Gary Cooper. It was the soon to become legendary Gérard Philipe, who had already made a couple of appearances in acclaimed stage productions and completed his first screen role in Les petites du quai aux fleurs (1944). He was going to play a scene from De Musset's "Fantasio". Bouquet immediately noticed that Philipe projected a great sense of self-confidence, something he himself had always lacked, since he had many perplexities about his physical appearance (he was skeletal at the time) and modest cultural background. At the exam, Philipe and Bouquet managed to scrape through as sixth and seventh respectively. Michel can't even remember who were the five students that were admitted before them, since their careers never went anywhere. He became the pupil of the accomplished stage actress Béatrix Dussane, who had heard some great things about him from Escande and used all of her powers to have him getting admitted.
Bouquet's first stage roles were Damis in Molière's "Tartuffe" and Robespierre in Romain Rolland's "Danton". It was an interesting and indicative starting point to his career, considering that Molière is the author he will always be most associated with and that he would play "The Incorruptible" on several future occasions. After having played roles in "Première Étape" and "Le Voyage de Thésée", he made his first important professional encounter: writer and playwright Albert Camus had witnessed many of his auditions at the "Théâtre de l'Odéon" and he had been so impressed by his skills to offer him the role of Scipio in his upcoming production of "Caligula", which starred Philipe in the title role. Bouquet said that he could do 30 shows only, as he had already signed on to appear in a production of "La Celestine" under Jean Meyer's direction. Camus accepted his conditions since he wanted him to play the role so much. "Caligula" was the only Philipe-Bouquet collaboration, but Michel would go on to see Gérard on stage many times and always kept huge admiration for him along with very fond memories of their relationship. Bouquet's next stage credits were three Jean Anouilh plays directed by André Barsacq (who had personally recommended him to the author): the moderately successful, Shakespeare-inspired "Romeo and Jeannette", "Le Rendez-Vous de Senlis" and "L'Invitation au château". In the first one, Bouquet provided support to stage legends Jean Vilar and María Casares and the "Combat" critic wrote that he towered on the entire cast. Although he was initially irritated by a negative comment made by Michel about the pacing of the play, Anouilh went on to work with the actor on many other occasions. After having made his screen debut as an assassin in the obscure Criminal Brigade (1947), Bouquet was given the role of a tubercular patient in the acclaimed Monsieur Vincent (1947), which was scripted by the author. And a couple of years later, he found his first memorable screen role in another Anouilh-penned movie: Maurice, the twisted (but not evil at heart) brother of the title character in the suggestive and atmospheric White Paws (1949), another remarkable entry by the talented, but often neglected Jean Grémillon. As his character is first seen walking the docks at night, one can already feel a great leading man "allure" à la Jean-Louis Barrault around the emaciated young actor. Interviewed in 2013, Bouquet still remembers this role as one of his favorites. The same year he appeared in Henri-Georges Clouzot's Manon (1949), which was diminished by Cécile Aubry's performance as the title heroine.
For the rest of the 40's and entire 50's, Bouquet mainly kept collaborating on the stage with Anouilh, Camus and his former "Romeo and Jeannette" co-star Jean Vilar, who directed him in several productions, notably Shakespeare's "Henry IV" (as Prince Hal) and "Richard II" (as the Duke of Aumerie), Molière's "Dom Juan" (as Pierrot) and Georg Büchner's "Danton's Death" (as another prominent figure of the French Revolution, Saint-Just). Bouquet really liked Vilar for his talent to pick up his actors. He actually thought that an actor's director should be a person with a great eye for spotting talent and the skill to cast the right person in the right role, but that his input should end there. He didn't enjoy to have his directors telling him to play a part or trying to over-impose their view on the character upon his own. That never happened with Vilar. Anouilh wrote another great role for Bouquet in 1956: the title character in "Pauvre Bitos ou le Dîner de têtes". Bitos is a poor man's Robespierre, a little politician in Post-war France who wants to obtain power even if he doesn't possess the means to do it. The author had created the role specifically for the actor because he had expressed the interest to play "the Incorruptible" once more. In 1951, Bouquet was also seen as Dany Robin's opportunistic brother (again called Maurice) in Anouilh's second (and final) directed feature, Deux sous de violettes (1951), a (mostly) cynical, anti-bourgeois drama. His other film roles from this period include the dim-witted King Louis X in the Dumas adaptation La tour de Nesle (1955) and a Russian revolutionary in the Romy Schneider vehicle Adorable Sinner (1959). He also borrowed his incredible voice to Alain Resnais's hugely acclaimed Holocaust documentary Night and Fog (1956). On the Parisian stage, he tried his hand at directing: first it was a production of "Chatterton" (where he starred with his wife of the time, Ariane Borg), then a revival of George Bernard Shaw's "Heartbreak house" (where Borg was co-director). The shows weren't lauded and he never tried to follow this path again. In TV, he was finally allowed to play Robespierre again in an episode of Stellio Lorenzi's historical series, La caméra explore le temps (1957). The program was focused on the trial of Marie Antoinette and Bouquet's screen time was consequently limited, but there's still enough ground to make a case about the actor being the definitive incarnation of the complex French politician. Bouquet had always been fascinated with the character, imagining him as constantly living in a state of great anguish and anxiety since he probably thought not to possess the cunning of a Mirabeau or the orator skills of a Danton and knew that everyone in those times was expendable. Sympathizing with what "the Incorruptible" must have been feeling in his short, turbulent life, Bouquet created a well-rounded and appropriately indecipherable figure, finding the perfect balance between the cover of impassibility and the neurotic nature of the character. In addition to this, he played the ill-fated King Charles I and Napoleon's jailer, Sir Hudson Lowe, in his two other appearances in Lorenzi's program.
Bouquet's stage work kept offering him a lot of professional satisfactions in the 60's: he expanded his repertoire to 'Eugene Ionesco''s Theatre of the Absurd (his association with the author will also be career-defining) and to several other authors. He was now living an important phase in the history of French theatre, as it was during those years that the stars of the Parisian stage were beginning to discover the great English-language playwrights. In 1965, productions of Harold Pinter's "The Lover" and "The Collection" were staged simultaneously and featured the same, exceptional trio of stars, as Bouquet was teamed up with the brilliant Jean Rochefort and the sublime Delphine Seyrig. Still, it was rare for Michel to feel completely fulfilled, neither in his professional or personal life. His marriage with Ariane had been a mistake (as she had proved, according to his recollections, to be a gold-digging harpy) and he had never managed to re-establish any emotional connection with his father since he had returned from the front. A great perfectionist, he also used to have an high lot of quarrels with his own performances: he felt that his rather ordinary appearance and modest height didn't give him enough 'gravitas' to be a great dramatic actor, was equally skeptical about the quality of his comedic turns and believed that his talents were probably better suited to a genre in the middle, "the dramatic comedy". He often helped himself to get past these dark moments with big quantities of alcohol. One day, after a performance of "The Collection", a single meeting would make his existence change for the better: stage actress Juliette Carré approached him to pay a lot of sincere and heartfelt compliments to his acting in the play. Shortly after, Michel put an end to his marriage with Ariane and, even if it would take years to get an official divorce, he immediately started a family with Juliette and the two sons she had from a previous relationship, Frédéric and Sylvie. Juliette proved to be the perfect mate for Michel in life- as she could understand his introverted nature and accept that he was a solo player- and ideal sparring partner on the stage. He stated himself that he never felt so much at ease at playing opposite anyone as he did with her. In 1965, Bouquet played both on stage and TV a third important member of the French Revolution: Fouquier-Tinville in L'accusateur public (1965). But his golden period as a film actor was about to start. His juicy role as a perverse abbey in This Special Friendship (1964) had already raised his interest in cinema. Now, two of the most representative directors of the French New Wave were to cross their paths with his. His performance as the chief villain in Our Agent Tiger (1965) marked his first collaboration with Claude Chabrol. Unfortunately the film belongs to the long list of bad titles the director did for rather obscure reasons. Bouquet and Chabrol's next journey together was equally unexciting as the thespian's comedic skills were wasted in the supposedly ironic spy story The Road to Corinth (1967), a sub-par product not much dissimilar from the silliest episodes of The Avengers (1961) and The Man from U.N.C.L.E. (1964). Luckily, the two men would soon team up again for a better cause. In the mean time, Bouquet kept himself busy by appearing in a couple movies made by the way more consistent François Truffaut. In 1968 he played the role of Coral in The Bride Wore Black (1968) opposite the great Jeanne Moreau in one of her signature roles. The unforgettable masterpiece that would inspire Quentin Tarantino's "Kill Bill" movies sees Moreau's Julie Kohler eliminating with extreme prejudice all the men responsible for the death of her husband. As the second target, Bouquet is the male actor who shines the most. Truffaut enjoyed mocking the actor's melancholic/tormented characterization of Coral, thinking that he should have been more casual and less serious. So he decided to play a mean prank on him when he called him back one year later to support Jean-Paul Belmondo and Catherine Deneuve in the fine Mississippi Mermaid (1969). Bouquet has a couple of scenes in the film as the implacable sleuth Comolli. On the morning of the shooting, he found out that Truffaut had completely changed all his dialogue, something that took him completely off guard. This didn't prevent him from making the most of his little screen time anyway. The same year, he would also find one of his most iconic roles in one of Chabrol's best movies, The Unfaithful Wife (1969). It was the first time he was paired with the director's glacial wife and muse, Stéphane Audran. Like in the case of every other Chabrol-Bouquet-Audran collaboration, Michel provided the acting, while Stéphane just added her very beautiful (but equally motionless) face to the proceedings. Known for his explosive presence on the stage, Bouquet favored, as a film actor, a performing style all about subtleties and psychological introspection: he once said that "stage acting is like the work of an ascensionist; screen acting is like the work of a speleologist". Belonging to that rare breed of actors à la Jean-Louis Trintignant, able to express a world of emotions by simply raising an eyebrow, Bouquet gave a superlative performance as cuckolded husband Charles Desvallees in Chabrol's classic, making his transaction from boring bourgeois type to passionate murderer well-timed, impeccably constructed and absolutely believable and managing at the same time to inject enough humour into his characterization to make the role somehow sympathetic. Chabrol had written the role specifically for him and Bouquet got to admire his working method enormously, later calling him a great actor's director and crediting him for having offered him the possibility to give one of his best performances. Audran's ice maiden act proved somewhat functional to the nature of her character (the bored and adulterous Hélène) and she didn't ruin the movie this time around. The same can't unfortunately be said about the trio's next collaboration, the uneven The Breach (1970). As ex-dancer Hélène Régnier, Stéphane gave one of her very worst performances, walking through the movie without showing any trace of emotion not even when witnessing her little son being thrown around the room by her mentally deranged husband or waiting for the doctors to tell her about his condition. Michel (as Hélène's father-in law Ludovic, a despicable man ready to do everything to prevent her from getting custody of the child), Jean-Pierre Cassel (in the thankless, psychologically absurd role of private eye Paul Thomas) and frequent Chabrol collaborators and great actors Jean Carmet and Michel Duchaussoy formed the rescue team that should have made up for the huge void at the centre of the movie, but the flawed screenplay was conspiring against the success of 'La Rupture' as much as Audran's performance and the end result was rather disappointing.
Bouquet's film career had now taken full flight and, between 1970 and 71, he found several roles that truly showcased his talents. He played a ruthless inspector avenging the death of his partner in The Cop (1970) and a mobster lawyer in the Jean-Paul Belmondo-Alain Delon collaboration Borsalino (1970) (although his role was largely left in the editing room when the movie was originally released, something that made him very distrustful of commercial cinema). One year later, he played a slimy sycophant in Harry Kümel's authorial horror The Legend of Doom House (1971) and found an even better role in another remarkable revenge movie, Countdown to Vengeance (1971). The movie is centered around Serge Reggiani's character, a criminal who, after his release from prison, plans to get revenge on his former associates for having betrayed him. The spectacular supporting cast includes Bouquet, Jeanne Moreau, Simone Signoret and Charles Vanel. Michel got to play the lion's role as a one-eyed villain, constantly wearing black, involved in a mental game of chess with Reggiani for the entire movie. Similarities with 'La Mariée était en noir' are strong and made even more evident by the presence of Moreau and Bouquet. Michel rounded off the year by giving outstanding performances in two Molière plays for TV, Tartuffe (1971) (where he was perfectly matched scene by scene by Delphine Seyrig) and Le malade imaginaire (1971), and playing another of his best film roles, Charles Masson in the vintage Chabrol Just Before Nightfall (1971). The movie is arguably the director's deepest and most complex reflection about the twisted, dark urges hidden in the meanders of human psyche, as repressed bourgeois Charles kills his lover for apparently no reason. Bouquet was simply mesmerizing in the part and owned every celluloid frame of the movie, making the viewer feel the character's torment on every moment and perfectly follow his inner path (from his sense of guilt to his desire to be punished): all of this in the subtlest, least showy way as possible. As his wife Hélène, Audran did near to nothing in the film: in the scene where Bouquet confesses his crime to her, Chabrol just filmed her reaction from behind (therefore releasing her from any acting duty) and, when he has his thrilling final monologue about his wish to atone, she just listens to him, completely frozen, and restricts herself to put a hand on her mouth once he announces his intention to give himself up. "Juste avant la nuit" was released in the UK only in 1973 and BAFTA hit an all-time low by ignoring Bouquet's performance, but bestowing a Best Actress Award to Audran for her minimal work in the movie added to her supporting turn in The Discreet Charm of the Bourgeoisie (1972) (where she was easily the least talented main player).
Galvanized by the quality of his recent body of film work, Bouquet took a 5 years break from the stage (the longest he ever did) to do more movies. Unfortunately, most of the roles he found in this period proved totally unworthy of his skill: Bons baisers... à lundi (1974) (one of Michel Audiard's several dismal attempts at directing) was particularly unremarkable. Nadine Trintignant's Défense de savoir (1973) put together such wonderful performers as Bouquet, Jean-Louis Trintignant, Bernadette Lafont, Juliet Berto and Charles Denner and couldn't make an interesting use of any of them. It was clear to Michel that things couldn't go on like this and that's the reason he headed back to theatre so soon. His other film roles that stand out in the 70's are a detestable policeman in Two Men in Town (1973) with Delon and Jean Gabin, a ruthless newspaper director and unsentimental father in The Toy (1976), a sculptor pretending to go blind in Vincent mit l'âne dans un pré (et s'en vint dans l'autre) (1975) and particularly a drug lord in Alain Corneau's bizarre, but ultimately involving sci-fi feature, France société anonyme (1974). Despite having always publicized his lack of athletic skills, he gave a great lesson in physical acting in the latter. He also started to direct his talents towards the small screen and Gabriel Axel offered him the possibility of giving two particularly memorable performances. The first was as painter Rembrandt van Rijn in La ronde de nuit (1978). The second was in the Balzac adaptation Le curé de Tours (1980) as the backstabbing Abbey Troubet, a vile man who ruins the life of Jean Carmet's passive title character with the help of a deliciously serpentine Suzanne Flon. He also appeared in Les nuits révolutionnaires (1989) (a mini-series set during the French Revolution) and played Ebenezer Scrooge in a 1984 version of "A Christmas Carol", winning a 7 d'or (a French Emmy) for his performance. His stage work from the 80's include playing Harpagon in "the Miser"- which invited the comment 'Whoever hasn't seen Bouquet in The Miser hasn't seen The Miser'- and appearing in a Chabrol-directed production of Strindberg's "The Dance of Death", which was later filmed. A stage production of "Macbeth" opposite his wife was very unsuccessful and he bode farewell to Shakespeare for good. Bouquet's most important film achievement from this decade is undoubtedly playing the immortal role of Inspector Javert in Robert Hossein's Les Misérables (1982) (released both as a 4 part mini-series and feature film). Although this version (like nearly every other) couldn't completely do justice to the spirit of Hugo's novel, the portrayals of the main characters are arguably definitive, from Lino Ventura's interpretation of Jean Valjean to Jean Carmet's César-winning performance as Thénardier and of course Bouquet's ascension to King of Javerts. Michel possessed the "physique du rôle" that the larger than life Charles Laughton lacked in the 1935 film, was infinitely subtler than the likes of Hans Hinrich and Robert Newton were in their respective outings, had more scope to express himself than the well-cast Anthony Perkins and Geoffrey Rush had in their mediocre vehicles and any comparison between his work and Russell Crowe's acting/singing performance in the 2012 musical would almost be sadistic. Many people in France strictly associate Bouquet with this part. His second most notable film role from the 80's is a creepy notary in Chabrol's poorly paced and constructed Cop Au Vin (1985), which was Jean Poiret's first outing as Inspector Lavardin. Apart from acting, Bouquet was very busy teaching the craft at the CNSAD during those years. Despite his modest studies, he had gradually become an immensely cultured man within the decades, having traveled a lot and grown a great interest towards literature, music and the figurative arts. These interests were also the reason that lead him to play real-life artists on several occasions.
Bouquet was seldom seen on the silver screen in the 90's, but, when he was, he most certainly lingered in memory. In 1991 he appeared in the much lauded Toto the Hero (1991) as the oldest incarnation of the title character. The movie starts with little Thomas dealing with all the adversities of life by dreaming of an alter ego living all kinds of exciting adventures (something reminiscent of what Michel himself had gone through during his childhood) to eventually see him turning into an unhappy, disenchanted man ready to do the most extreme and unimaginable thing to get even with the rival of a lifetime. Bouquet also borrowed his voice to actor Jo De Backer, who played his younger adult self. His performance helped him cementing his status as a crucial figure of European cinema and won him the EFA (European Film Award) for Best Actor. The same year he also played painter Laubin Baugin in Corneau's best movie, Tous les matins du monde (1991), while in 1993 he narrated Chabrol's well-made documentary The Eye of Vichy (1993) (a compilation of official newsreels originally broad casted in Nazi-occupied France). Bouquet's theatre highlights from this period include playing for the first time King Bérenger I in Ionesco's "Exit the King" (his portrayal of the character remains one of his most celebrated triumphs) and appearing alongside the great Philippe Noiret in Bertrand Blier's "Les Côtelettes". His performance in this play won him his first Molière (France's prestigious stage award founded in 1987).
Even greater things were waiting for Bouquet in the 2000s: he accepted very few roles, but they were the best any actor could dream of. Having seen a performance of "Les Côtelettes" on the Parisian stage, Italian novelist and occasional director Roberto Andò chose him to play the role of writer Tomasi di Lampedusa in his very interesting feature Il manoscritto del principe (2000). Having now reached the apex of his acting technique and maturity, Bouquet gave the first of a series of absolutely essential performances. Although he somehow regretted that he couldn't cast an Italian actor in the role, Andò stated that he couldn't possibly imagine the Lampedusa role played by anyone else. In 2001, Bouquet was given the complex, multi-dimensional role of estranged father Maurice in Anne Fontaine's noteworthy How I Killed My Father (2001). Michel had a great understanding of the central relationship between his own character and Charles Berling's bitter son as it mirrored in some ways the one he had with his own father, to whom he had started to feel a bit closer long after his death. Inspired by Fontaine's direction (he credits her for having taught him a more relaxed approach to characters), the actor gave life to a rather sinister, but eventually very poignant figure. At age 76 he was nominated for his first César and won it. In 2003, Blier turned his stage success into a major feature with Les côtelettes (2003) and recast Noiret and Bouquet in their original roles, a man who has trouble defecating and a mysterious character who must help him doing it. Although the movie is pretentious and often off-colour, the central performances of the two acting giants are all to be savored. Michel's next film appearance was as the title role in L'après-midi de monsieur Andesmas (2004), an adaptation of the Marguerite Duras novel by the same name. He was already familiar with the text, but he had always found it to be a bit unclear, albeit impressive. He had, however, far less difficulties in penetrating the deeper meanings of the story once he read the script by the movie's director, Michelle Porte, who had started her career as a second assistant director to Duras herself in Baxter, Vera Baxter (1977). The film follows Monsieur Andesmas, who has just bought a house for his daughter, as he waits for the arrival of a mysterious businessman, Michel Arc, who never shows up. This shadowy character can be interpreted as a representation of many things: Bouquet saw him as an emissary of death as he imagined Monsieur Andesmas' afternoon to be his last one. The actor had all the vital characteristics of the quintessential Duras protagonist, being multi-layered, introvert and provided with the impeccable diction and thousand vocal inflections that are indispensable to give power to the great author's affecting, literary lines of dialogue. Aided by an excellent Miou-Miou as Michel Arc's wife, he gave one of his most touching performances and one that appears to follow a recent pattern: all his latest movies seem to deal with the theme of the end of life, either in an explicit or a veiled way. He carried on this tradition when he next appeared in The Last Mitterrand (2005), playing President Mitterrand when death's approaching him. An unusually good biopic, the film showed a more private dimension and different image of Mitterrand, so that Bouquet didn't really have to live up to people's common perception of the President: consequently, he managed to give a very complex and involving portrayal of a man opposed to the sheer exercise in mimicry and acting virtuosity that one usually expects from this kind of picture. Again he was heart-breaking, again he received a César nomination and again he won. After this new triumph, Bouquet grew more and more selective of film roles, basically declining every script that was sent to him. Like in the case of Mesdames Fontaine and Porte, it was again a duo of female directors, Swiss actresses Stéphanie Chuat and Véronique Reymond, to win his attention. Having eventually managed to find Bouquet's phone number (he doesn't have an agent), the two girls offered him the leading male role in their debut feature film, the little gem The Little Bedroom (2010). Bouquet adored the script and was pleasantly surprised that such young ladies could have written a story that was such a beautiful reflection on old age. He consequently played the role of Edmond, a sad, lonely man who gets treated with neglect by his son and progressively develops a warm relationship with his carer (Florence Loiret Caille). He again put body and soul in a project meant to give dignity to the last days on earth of a common man. During the course of the decade, Bouquet also kept to assiduously work on the stage, notably in revivals of "Exit the King", "The Imaginary Invalid" and the "Miser", all directed by Jacques Werler. He received splendid support by wife Juliette in the first two, which were filmed. His incredible performance as Bérenger in the Ionesco play will forever help people who never had the honor of seeing him on the stage to understand what kind of chameleon he was as a theatrical actor. He won his second Molière for his work in this production.
A late highlight in Bouquet's silver screen career was his performance as Pierre-Auguste Renoir in Renoir (2012), an account of the relationship between the great painter and his son Jean, the future genius of cinema. Michel thought that Gilles Bourdos's script possessed the necessary grace to speak about some rather obscure themes. He had always considered painting the most sublime of arts and, while studying the Renoir character, he found himself relating to his "nature-immersed" side above all. Although not as Bouquet-centered as one would have wished it to be, the film still offered the great thespian the possibility to shine and won him a third César nomination for Best Actor.
Bouquet's commitment to his stage activity was something that could hardly find a proper match among future generations of actors, approaching it like a sacred path as a missionary of sorts would do (his acting pupil Fabrice Luchini would indeed compare him to a monk). Having first announced his retirement from the theatre world in 2011, he couldn't couldn't keep his word, as his bond to the theatre in general and 'Exit the King' in particular proved to be just too strong: in 2013 he did a special performance of the play during the prestigious Ramatuelle festival and, in early 2014, brought the production back to the Parisian stage for a limited season. He later played conductor and composer Wilhelm Furtwängler in a production of Ronald Harwood, winning once again a lot of admiration alongside a final Molière nom, and said at one point he would never quit the boards. His final theatrical role was as Orgon in a new production of Tartuffe directed by his great admirer Michel Fau, who also played the title role that had once been a defining one for Bouquet: the marketing and promotion of the show was largely centered around the latter's legendary persona, and the Crystal Globes gave him yet another laurel as the best stage actor of 2017, as a further testament to his evergreen core essentiality to the Parisian stage's life. In late 2018, it was announced that Bouquet would play the role of Albert Einstein in the play "Le case Eduard Einstein", focused on the relationship between the great scientist and his schizophrenia-stricken son. He did, however, withdraw from the project shortly after, also announcing his retirement from the stage for good this time, stating he was feeling too tired and devoid of the needed energy to approach this new challenge, and later adding that he already felt as if he "had done everything he could".
Michel Bouquet peacefully passed away on the 13 April 2022: interestingly enough, it was the year that marked the fourth centenary of the birth of Molière. A veritable national treasure by then, he was proudly and fondly saluted by countless leading figures of France's artistic and politic world. Most people would say he had the right to consider himself satisfied with his career like very few can. Probably no other actor of his generation could find equally memorable film roles in the new millennium. Having appeared in at least one play a year in the 70 years period between 1944 and 2017 (with very few breaks in between), he had put together one of the most impressive stage resumes ever. And not many can say to be as respected as he was by the public, the critics and their peers. However, the master thespian himself was never one to take anything for granted: earlier in his life, he had mentioned how he envisioned his actor's journey as being, for the most part, a sort of training until a final act where he could play a few roles very well. Still, taking into account the way he'd been able, even in the end, to satisfyingly eviscerate multiple roles that marked some of his most celebrated triumphs-- such as the King Bérenger one which he played over 800 times-- one can imagine with justified optimism that, by that time, Michel Bouquet would no longer be extraneous with that total sense of commitment he'd been entitled to for a very long time: he finally accomplished everything a dedicated actor of his kind could, leaving a legacy that couldn't be truer to the principles and goals of one who did value and envision his profession in such a way.
The King may have exited our stage now, but he did so while wearing his well-earned crown.3191 points - Actor
- Director
- Writer
Tadeusz Lomnicki began his education in the theatre arts in 1945 when he enrolled in the Theatre Studio at the Stary Teatr in Krakow. In 1946 he spent a season at the Teatr Slaski in Katowice. He returned to Krakow in 1947, appearing on stage at both the Teatr im. Juliusza Slowackiego and the Stary Teatr. In 1949 he left for Warsaw, where he signed on with the Teatr Wspolczesny. Lomnicki would remain there until 1974, though during this period he performed occasionally at the National Theatre in Warsaw. He became a member of the Communist Party in 1951; during his initial years in Warsaw he also studied stage direction at the State Higher School of Theatre in Warsaw. He was awarded a directing degree in 1956. In 1970, he became the rector of the theatre school in Warsaw, retaining this position until 1981. In 1975, Lomnicki was elected a member of the Central Committee of the Communist Party. He was trusted by those in power at that time and received an opportunity to create his own theatre. His initiative lead to the creation in 1976 of the Teatr na Woli, which he headed until his resignation in 1981. At around the time he left the theatre, two days after Martial Law was declared in Poland, he handed in his Communist Party membership card. That same year he joined Warsaw's Teatr Polski, and in 1983/84 was an actor at the Teatr Studio in Warsaw. Throughout the 1980s and 1990s, he was not linked to any institutional theatre, instead making numerous guest appearances at a number of Warsaw theatres.
He had dreamed of playing the part of King Lear for a long time before he finally succeeded in mounting a production and going into rehearsal. He first asked noted translator and poet Stanislaw Baranczak to produce a new translation of the play. The translation in hand, he approached a number of directors about working with him on the production. Among those who turned him down at the time was Andrzej Wajda. Ultimately, Eugeniusz Korin agreed to direct the production at Poznan's Teatr Nowy. One week before the premiere, on February 22, 1992, Tadeusz Lomnicki passed away while rehearsing.3139 points- Mr. Denner began studying in Paris with Charles Dullin in 1945. Four years later, he joined the National Popular Theater. In 1962, he was offered his first big film role, in Bluebeard (1963). He made thirty films after that, notably with Claude Lelouch and François Truffaut. Over the years, he worked under some of France's best-known directors, including Louis Malle. During the 70's and 80's, he notoriously personified police detectives in famous French "Films Noirs" such as Mille milliards de dollars (1982) or The Night Caller (1975).3098 points
- Noriko Sengoku was born on 29 April 1922 in Tokyo, Japan. She was an actress, known for Seven Samurai (1954), Drunken Angel (1948) and Stray Dog (1949). She died on 27 December 2012 in Tokyo, Japan.3082 points
- Actor
- Writer
- Director
Francisco Rabal -- Paco to everyone -- was born in the mining camp where his father worked. His mother owned a small mill. At the age of six, with the Civil War breaking out, the family emigrated to Madrid and he started working as a street salesman and later in a chocolate factory, which later led to him working as an electrician in the Chamartín Film Studios. It was here he started in his first films in crowd scenes and so on. However, following advice from people like Dámaso Alonso, he found his way into the theatre and in 1950 started working with José Tamayo where he met Asunción Balaguer, who was to become his wife and inseparable companion for the rest of his life. One of the plays he starred in was a Spanish version of Arthur Miller's "Death of a Salesman." The big breakthrough came when he met Luis Buñuel, one of the greatest of Spanish film directors. They became great friends, in part due to their similar philosophies on life. Nazarín and Viridiana remain as hallmarks of that early period. However, with maturity and the passing of the Franco Régime, Rabal's best work was yet to come, and indeed culminated with his exceptional rôle in _Santos Inocentes, Los (1984)_, one of the best three or four Spanish films of all time. In 1987 he made a wonderful TV series called Juncal (1989) which was probably the character which mostly resembled the real-life Paco Rabal: a veritable "truhan" -- a roguish rascal. However, he has played the character of the Aragonese painter Francisco Goya in three different films, a personage who he became heavily identified with. It is in this period that he received his highest awards in Spain, Cannes, Montreal, etc. He is the only Spanish actor to have been given a Doctor Honoris Causa by the University of his native Murcia. Returning from the XXV Montreal Festival where he was homaged for a lifetime's work, he died over the English Channel aboard the aeroplane bringing him from London to Madrid and, despite the emergency landing in Bordeaux, nothing could be done for him. The pressure inside the plane aggravated his chronic bronchitis and started a fit of coughing which he was not able to overcome. He has published a few books which he called "some little things of mine," but most notably his collection of verses and "coplas" in 1994 and a little later collaborated with Agustín Cerezales on his biography "Si yo te contara" (If I told you all about it). His daughter, Teresa Rabal, is a successful actress, singer and TV presenter, while his son, Benito, also works as film director.3037 points- Franciszek Pieczka was born on 18 January 1928 in Godów, Slaskie, Poland. He was an actor, known for The Scar (1976), Zywot Mateusza (1968) and Jancio Wodnik (1993). He was married to Henryka. He died on 23 September 2022 in Poland.3028 points
- Actor
- Producer
- Director
Mickey Rooney was born Joe Yule Jr. on September 23, 1920 in Brooklyn, New York. He first took the stage as a toddler in his parents vaudeville act at 17 months old. He made his first film appearance in 1926. The following year, he played the lead character in the first Mickey McGuire short film. It was in this popular film series that he took the stage name Mickey Rooney. Rooney reached new heights in 1937 with A Family Affair, the film that introduced the country to Andy Hardy, the popular all-American teenager. This beloved character appeared in nearly 20 films and helped make Rooney the top star at the box office in 1939, 1940 and 1941. Rooney also proved himself an excellent dramatic actor as a delinquent in Boys Town (1938) starring Spencer Tracy. In 1938, he was awarded a Juvenile Academy Award.
Teaming up with Judy Garland, Rooney also appeared in a string of musicals, including Babes in Arms (1939) the first teenager to be nominated for an Oscar for Best Actor in a leading role, Strike Up the Band (1940), Babes on Broadway (1941), and Girl Crazy (1943). He and Garland immediately became best of friends. "We weren't just a team, we were magic," Rooney once said. During that time he also appeared with Elizabeth Taylor in the now classic National Velvet (1944). Rooney joined the service that same year, where he helped to entertain the troops and worked on the American Armed Forces Network. He returned to Hollywood after 21 months in Love Laughs at Andy Hardy (1946), did a remake of a Robert Taylor film, The Crowd Roars (1932) called Killer McCoy (1947) and portrayed composer Lorenz Hart in Words and Music (1948). He also appeared in Breakfast at Tiffany's (1961), starring Audrey Hepburn and George Peppard. Rooney played Hepburn's Japanese neighbor, Mr. Yunioshi. A sign of the times, Rooney played the part for comic relief which he later regretted feeling the role was offensive. He once again showed his incredible range in the dramatic role of a boxing trainer with Anthony Quinn and Jackie Gleason in Requiem for a Heavyweight (1962). In the late 1960s and 1970s Rooney showed audiences and critics alike why he was one of Hollywood's most enduring stars. He gave an impressive performance in Francis Ford Coppola's 1979 film The Black Stallion (1979), which brought him an Academy Award nomination as Best Actor in a Supporting Role. He also turned to the stage in 1979 in Sugar Babies with Ann Miller, and was nominated for a Tony Award. During that time he also portrayed the Wizard in The Wonderful Wizard of Oz with Eartha Kitt at New York's Madison Square Garden, which also had a successful run nationally.
Rooney appeared in four television series': The Mickey Rooney Show (1954) (1954-1955), a comedy sit-com in 1964 with Sammee Tong called Mickey, One of the Boys in 1982 with Dana Carvey and Nathan Lane, and The New Adventures of the Black Stallion (1990) from 1990-1993. In 1981, Rooney won an Emmy Award for his portrayal of a mentally challenged man in Bill (1981). The critical acclaim continued to flow for the veteran performer, with Rooney receiving an honorary Academy Award "in recognition of his 60 years of versatility in a variety of memorable film performances". More recently he has appeared in such films as Night at the Museum (2006) with Ben Stiller and The Muppets (2011) with Amy Adams and Jason Segel.
Rooney's personal life, including his frequent trips to the altar, has proved to be just as epic as his on-screen performances. His first wife was one of the most beautiful women in Hollywood, actress Ava Gardner. Mickey permanently separated from his eighth wife Jan in June of 2012. In 2011 Rooney filed elder abuse and fraud charges against stepson Christopher Aber and Aber's wife. At Rooney's request, the Superior Court issued a restraining order against the Aber's demanding they stay 100 yards from Rooney, as well as Mickey's other son Mark Rooney and Mark's wife Charlene. Just prior, Rooney mustered the strength to break his silence and appeared before the Senate in Washington D.C. telling of his own heartbreaking story of abuse in an effort to live a peaceful, full life and help others who may be similarly suffering in silence.
Rooney requested through the Superior Court to permanently reside with his son Mark Rooney, who is a musician and Marks wife Charlene, an artist, in the Hollywood Hills. He legally separated from his eighth wife in June of 2012. Ironically, after eight failed marriages he never looked or felt better and finally found happiness and peace in the single life. Mickey, Mark and Charlene focused on health, happiness and creative endeavors and it showed. Mickey Rooney had once again landed on his feet reminding us that he was a survivor. Rooney died on April 6th 2014. He was taking his afternoon nap and never woke. One week before his death Mark and Charlene surprised him by reunited him with a long lost love, the racetrack. He was ecstatic to be back after decades and ran into his old friends Mel Brooks and Dick Van Patten.3017 points- Murray Hamilton was one of those character actors whose face would be familiar to most movie buffs at an instant, yet his name may not. That's a shame, because Hamilton was one of the most versatile and prolific of performers who was never anything less than completely convincing in any role he took on, from priests to gangsters, soldiers to politicians, ordinary men to aliens. His characters would rarely fail to evoke emotion, whether that be sympathy or dislike. He particularly excelled at hard-edged, street-wise tough guys on either side of the law. His own dictum was to be always "true to the part as it is written".
Born and schooled in Washington, North Carolina, he had originally studied graphic design but had an early yearning for the acting profession. Barely out of his teens, he took a bus to Los Angeles, eventually arriving in Hollywood with just $50 to his name. He gained a foothold at Warner Brothers (his favorite studio) through the back door, as a messenger boy, earning $22 a week. He soon found work as an extra in films, but by 1945, returned to New York making his debut on Broadway as "a mill hand" in 'Strange Fruit', directed by 'Jose Ferrer (I)'.
His breakthrough came three years later, when he appeared with Henry Fonda in the long-running play 'Mister Roberts' (1948-51), first playing the role of a shore patrol officer, later taking over from David Wayne in the key part of Ensign Pulver. Over the years, Murray became quite comfortable with playing more comedic roles on stage and made good impressions as the over-zealous director Dion Kapakos in 'Critic's Choice' (1960-61), and as Otis Clifton in his Tony Award-nominated performance in 'Absence of a Cello' (1964-65), co-starring with Fred Clark and Charles Grodin. Of his enactment as Robert E. Lee Prewitt in the short-lived military drama 'Stockade' (1954), critic Brooks Atkinson remarked: "Modest of manner, pleasant of voice, he has a steel-like spirit that brings Prewitt honestly to life" (New York Times, September 17, 1986).
Murray began in films properly as a credited screen actor from 1951, alternating with guest starring roles on television (by the end of his life he had appeared in more than 100 TV shows). His expressive face and gravelly voice became an adaptable combination for playing surly gangsters (Perry Mason (1957)), authority figures with integrity (James Stewart's ill-fated colleague in The FBI Story (1959)), or without (pompous mayor Larry Vaughn in Jaws (1975)). He was particularly good as Irving Blanchard in the comedy No Time for Sergeants (1958), giving an excellent drunk impersonation; as obtuse barkeeper Al Paquette in Anatomy of a Murder (1959), the key witness to the crime who keeps mum out of misguided loyalty; cocky Kentuckian millionaire Findley who thinks he can take Fast Eddie in The Hustler (1961); and Anne Bancroft's complacent, cuckolded husband, Mr. Robinson, in The Graduate (1967), a role for which Marlon Brando was at one time considered. Of Murray's performance in the iconic 1960s film, Bosley Crowther posited that "Murray Hamilton is piercing ... a seemingly self-indulgent type who is sharply revealed as bewildered and wounded in one fine, funny scene" (New York Times, December 22, 1967).
On the small screen, he was memorable as "Mr. Death" in the 'One for the Angels' episode of Rod Serling's The Twilight Zone (1959), who is seemingly sweet-talked by salesman Lew Bookman (Ed Wynn) to remain on earth just long enough to make his big "pitch to the angels". As Lewis Dunn in the episode 'The Condemned' of The Invaders (1967), he was a very different type of visitor to earth, a sinister alien. In addition to numerous portrayals of harassed or cynical cops, he is also remembered for his recurring TV role, Captain Rutherford T. Grant, in B.J. and the Bear (1978).
Unlike other busy actors, Hamilton was not a part of the established Hollywood set, preferring to spend his life in his native North Carolina, and in Manhattan. He counted George C. Scott, Jason Robards, and Walter Matthau, among his close friends.
When the actor was suffering from the effects of cancer and found film roles harder to come by, Scott helped out by getting him a part in the made-for-television movie The Last Days of Patton (1986).
Murray Hamilton died, aged 63, in September 1986 in his native North Carolina.2988 points - Actor
- Music Department
- Soundtrack
Evgeniy Aleksandrovich Evstigneev was born on October 9, 1926, in Gorky, Russia, USSR (now Nizhni Novgorod, Russia). His father, Aleksandr Mikhailovich Evstigneev, was a metal worker. His mother, Maria Ivanovna (nee Chernysheva), was an industrial metal-miller. Young Evstigneev also worked as an industrial metal-worker in the city of Gorky.
In 1946 Evstigneev made an effort to enter the Gorky Theatrical School. There he was criticized by one of the examiners and was rejected with a comment: "We do not need short, balding actor.s" He had to return to his industrial job. However, he was able to express his creativity through music performances. Evstigneev was fond of American jazz music: he played drums with a local jazz-band in the city of Gorky. There he was scouted by Vitali Lebsky, director of Gorky Theatrical School. Vitali Lebsky immediately noticed Evstigneev's bright smile and musical virtuosity, and was impressed with Evstigneev's radiant personality and stage presence. Lebsky admitted Evstigneev to his acting class without an entrance exams. From 1946-1951 Evstigneev studied acting and graduated from the Gorky Theatrical school in 1951. From 1951-1954 he worked with the Vladimir City Drama Theatre.
In 1954 Evstigneev came to Moscow in his pursuit of an acting career. At that time the cultural revival known as the "Thaw" was initiated by Nikita Khrushchev, which opened many new opportunities for talented people. From 1954-1956 Evstigneev studied at School of Acting of the legendary Moscow Art Theatre (MKhAT). There he became involved with the Moscow intellectual and artistic milieu. In 1955 Evstigneev joined Oleg Efremov, Oleg Tabakov, Igor Kvasha, Galina Volchek, and other student-actors to start an independent theatre company, named 'Studio of Young Actors'. In 1956, upon their graduation, Evstigneev and his fellow actors became co-founders of their own theatre company in Moscow which became known as "Sovremennik". In 1957 he married actress Galina Volchek, their son Denis Evstigneev was born in 1961.
Evstigneev shot to fame after he starred as Comrade Dynin in 'Dobro pozhalovat, ili postoronnim vkhod vospreshchen' (Welcome, or No Trespassing 1964) by director Elem Klimov. He made remarkable performances in films from such directors, as Grigoriy Chukhray, Eldar Ryazanov, Mikhail Shvejtser, Aleksandr Alov, Vladimir Naumov, Karen Shakhnazarov, Leonid Filatov, Stanislav Govorukhin, Vladimir Bortko, Yuriy Kara, and other Russian film directors. From 1971-1992 he was a permanent member of the troupe of Moscow Art Theatre (MKhAT). His stage partners were Anastasiya Georgievskaya, Oleg Efremov, Sergey Yurskiy, Aleksandr Kalyagin, Viktor Sergachyov, Evgeniy Kindinov, Boris Shcherbakov, and other notable Russian actors.
Evgeni Evstigneev was awarded the State Prize of the USSR (1974) for his theatrical work. He was designated People's Artist of the USSR (1983) and received numerous awards and recognitions for his acting works in film and on stage. Evstigneev suffered from a chronic heart condition and complications from a heart attack. He died while undergoing preparation for a heart surgery on March 4, 1992, in London, England, and was laid to rest in the Novodevichy Convent Cemetery in Moscow, Russia.2978 points- Actor
- Writer
- Director
Maurice Ronet was born on 13 April 1927 in Nice, Alpes-Maritimes, France. He was an actor and writer, known for Elevator to the Gallows (1958), The Fire Within (1963) and Purple Noon (1960). He was married to Maria Pacôme. He died on 14 March 1983 in Paris, France.2976 points- Actor
- Additional Crew
- Soundtrack
George Harris Kennedy, Jr. was born on February 18, 1925 in New York City, to Helen (Kieselbach), a ballet dancer, and George Harris Kennedy, an orchestra leader and musician. Following high school graduation, Kennedy enlisted in the United States Army in 1943 with the hope to become a fighter pilot in the Army Air Corps. Instead, he wound up in the infantry, served under General George S. Patton and distinguished himself with valor. He won two Bronze Stars and four rows of combat and service ribbons.
A World War II veteran, Kennedy at one stage in his career cornered the market at playing tough, no-nonsense characters who were either quite crooked or possessed hearts of gold. Kennedy notched up an impressive 200+ appearances in both television and films, and was well respected within the Hollywood community. He started out on television Westerns in the late 1950s and early 1960s (Have Gun - Will Travel (1957), Rawhide (1959), Maverick (1957), Colt .45 (1957), among others) before scoring minor roles in films including Lonely Are the Brave (1962), The Sons of Katie Elder (1965) and The Flight of the Phoenix (1965).
The late 1960s was a very busy period for Kennedy, and he was strongly in favor with casting agents, appearing in Hurry Sundown (1967), The Dirty Dozen (1967) and scoring an Oscar win as Best Supporting Actor for his performance in Cool Hand Luke (1967). The disaster film boom of the 1970s was also kind to Kennedy and his talents were in demand for Airport (1970) and the three subsequent sequels, as a grizzled police officer in Earthquake (1974), plus the buddy/road film Thunderbolt and Lightfoot (1974) as vicious bank robber Red Leary.
The 1980s saw Kennedy appear in a mishmash of roles, playing various characters; however, Kennedy and Leslie Nielsen surprised everyone with their comedic talents in the hugely successful The Naked Gun: From the Files of Police Squad! (1988), and the two screen veterans exaggerate themselves again, in The Naked Gun 2½: The Smell of Fear (1991) and Naked Gun 33 1/3: The Final Insult (1994). From 1988-1991, he also played Ewing family nemesis Carter McKay on the CBS prime-time soap opera Dallas (1978).
Kennedy also played President Warren G. Harding in the miniseries Backstairs at the White House (1979) and had a long standing role on the CBS daytime soap opera The Young and the Restless (1973). He remained busy in Hollywood and lent his distinctive voice to the animated Cats Don't Dance (1997) and the children's action film Small Soldiers (1998). A Hollywood stalwart for nearly 50 years, he is one of the most enjoyable actors to watch on screen. His last role was in the film The Gambler (2014), as Mark Wahlberg's character's grandfather.
George Kennedy died of natural causes in Middleton, Idaho on February 28, 2016, only ten days after his 91st birthday.2975 points- Virginia has a long career as a character actress on the screen, but she will always be best remembered as the Swedish "Mrs. Olsen", who somehow knew everything about making coffee, and we somehow always found her in the kitchen of some hapless young housewife who just couldn't seem to make good coffee. Mrs. Olsen taught these women how to do so, as long as it involved using "Mountain Grown" Folger's brand Coffee. For some reason only Mrs. Olsen knew, no other kind of coffee you could buy was any good. And if you believe her, I have some land you'll be interested in!
Virginia was born in the small Iowa town of Stanton, which later converted its water tower to resemble a coffee pot in honor of its most famous citizen. When her family moved to Los Angeles, Virginia worked in radio while attending the University of California, Los Angeles. She was trained for a theatrical career by actor/director Fritz Feld, whom she married in 1940. In 1942, she signed a contract with Warner Bros. and started appearing in various films. Her first film was, Edge of Darkness (1943), in which she played a Norwegian peasant girl called "Miss Olson". Over the years, she appeared in prestigious films such as High Noon (1952) and Judgment at Nuremberg (1961) - to horror in The Mummy's Curse (1944) and Invasion of the Body Snatchers (1956). She was a favorite of Stanley Kramer, appearing in a number of his films. But her greatest fame came in the 1960's when she started her 21-year stint as the matronly "Mrs. Olsen", who always had comforting words for young married couples while pouring Folger's Coffee in the TV ads.2902 points - Actor
- Soundtrack
One of the great movie villains, Clarence Leroy Van Cleef, Jr. was born in Somerville, New Jersey, to Marion Lavinia (Van Fleet) and Clarence LeRoy Van Cleef, Sr. His parents were of Dutch ancestry. Van Cleef started out as an accountant. He served in the U.S. Navy aboard minesweepers and sub chasers during World War II. After the war he worked as an office administrator, becoming involved in amateur theatrics in his spare time. An audition for a professional role led to a touring company job in "Mr. Roberts". His performance was seen by Stanley Kramer, who cast him as henchman Jack Colby in High Noon (1952), a role that brought him great recognition despite the fact that he had no dialogue. For the next decade, he played a string of memorably villainous characters, primarily in westerns but also in crime dramas such as The Big Combo (1955). His hawk nose and steely, slit eyes seemed destined to keep him always in the realm of heavies, but in the mid 1960s Sergio Leone cast him as the tough but decent Col. Mortimer opposite Clint Eastwood in For a Few Dollars More (1965). A new career as a western hero (or at least anti-hero) opened up, and Van Cleef became an international star, though in films of decreasing quality. In the 1980s, he moved easily into action and martial-arts movies and starred in The Master (1984), a TV series featuring almost non-stop martial arts action. He died of a heart attack in December 1989 and was buried at Forest Lawn in the Hollywood Hills.2890 points- Jerzy Nowak was born on 20 June 1923 in Brzesko, Malopolskie, Poland. He was an actor, known for Schindler's List (1993), Three Colors: White (1994) and The Promised Land (1975). He was married to Maria Andruszkiewicz-Nowak. He died on 26 March 2013 in Warsaw, Mazowieckie, Poland.2850 points
- Actor
- Additional Crew
Val Avery was born on 14 July 1924 in Philadelphia, Pennsylvania, USA. He was an actor, known for The Magnificent Seven (1960), The Amityville Horror (1979) and Cobra (1986). He was married to Margot Stevenson. He died on 12 December 2009 in Greenwich Village, Manhattan, New York City, New York, USA.2808 points- Actor
- Producer
- Music Department
Legendary actor Christopher Plummer, perhaps Canada's greatest thespian, delivered outstanding performances as Sherlock Holmes in Murder by Decree (1979), the chilling villain in The Silent Partner (1978), the iconoclastic Mike Wallace in The Insider (1999), the empathetic psychiatrist in A Beautiful Mind (2001), the kindly and clever mystery writer in Knives Out (2019), and as Leo Tolstoy in The Last Station (2009). It was this last role that finally brought him recognition from the Academy of Motion Picture Arts & Sciences, when he was nominated as Best Actor in a Supporting Role, one of three Academy Award nominations he received in the 2010s, along with All the Money in the World (2017) (as J. Paul Getty) and Beginners (2010); he won for the latter role. He will also likely always be remembered as Captain Von Trapp in the atomic bomb-strength blockbuster The Sound of Music (1965), a film he publicly despised until softening his stance in his autobiography "In Spite of Me" (2008).
Christopher Plummer was born Arthur Christopher Orme Plummer on December 13, 1929 in Toronto, Ontario. He was the only child of Isabella Mary (Abbott), a secretary to the Dean of Sciences at McGill University, and John Orme Plummer, who sold securities and stocks. Christopher was a great-grandson of John Abbott, who was Canada's third Prime Minister (from 1891 to 1892), and a great-great-great-grandson of Presbyterian clergyman John Bethune. He had Scottish, English, Anglo-Irish, and Cornish ancestry. Plummer was raised in Senneville, Quebec, near Montreal, at his maternal grandparents' home.
Aside from the youngest member of the Barrymore siblings (which counted Oscar-winners Ethel Barrymore and Lionel Barrymore in their number), Plummer was the premier Shakespearean actor to come out of North America in the 20th century. He was particularly memorable as Hamlet, Iago and Lear, though his Macbeth opposite Glenda Jackson was -- and this was no surprise to him due to the famous curse attached to the "Scottish Play" -- a failure.
Like another great stage actor, Richard Burton, early in his career Plummer failed to connect with the screen in a way that would make him a star. Dynamic on stage, he didn't succeed as a younger leading man in films. Perhaps if he had been born earlier, and acted in the studio system of Hollywood's golden age, he could have been carefully groomed for stardom. As it was, he shared the English stage actors' disdain -- and he was equally at home in London as he was on the boards of Broadway or on-stage in his native Canada -- for the movies, which did not help him in that medium, as he has confessed. As he aged, Plummer excelled at character roles. He was always a good villain, this man who garnered kudos playing Lucifer on Broadway in Archibald Macleish's Pulitzer Prize-winning "J.B.".
Plummer won two Emmy Awards out of seven nominations stretching 46 years from 1959 and 2011, and one Genie Award in six nominations from 1980 to 2009. For his stage work, Plummer has racked up two Tony Awards on six nominations, the first in 1974 as Best Actor (Musical) for the title role in "Cyrano" and the second in 1997, as Best Actor (Play), in "Barrymore". Surprisingly, he did not win (though he was nominated) for his masterful 2004 performance of "King Lear", which he originated at the Stratford Festival in Ontario and brought down to Broadway for a sold-out run. His other Tony nominations show the wide range of his talent, from a 1959 nod for the Elia Kazan-directed production of Macleish's "J.B." to recognition in 1994 for Harold Pinter's "No Man's Land", with a 1982 Best Actor (Play) nomination for his "Iago" in William Shakespeare's "Othello".
Until the 2009 Academy Awards were announced, it could be said about Plummer that he was the finest actor of the post-World War II period to fail to get an Academy Award. In that, he was following in the footsteps of the late great John Barrymore, whom Plummer so memorably portrayed on Broadway in a one-man show that brought him his second Tony Award. In 2010, Plummer finally got an Oscar nod for his portrayal of another legend, Lev Tolstoy in The Last Station (2009). Two years later, the first paragraph of his obituary was written when the 82-year-old Plummer became the oldest person in Academy history to win an Oscar. He won for playing a senior citizen who comes out as gay after the death of his wife in the movie Beginners (2010). As he clutched his statuette, the debonaire thespian addressed it thus: "You're only two years older than me darling, where have you been all of my life?"
Plummer then told the audience that at birth, "I was already rehearsing my Academy acceptance speech, but it was so long ago mercifully for you I've forgotten it." The Academy Award was a long time in coming and richly deserved.
Plummer gave many other fine portrayals on film, particularly as he grew older and settled down into a comfortable marriage with his third wife Elaine. He continued to be an in-demand character actor in prestigious motion pictures. If he were English rather than Canadian, he would have been knighted. (In 1968, he was appointed Companion of the Order of Canada, the country's highest civilian honor and one which required the approval of the sovereign, Queen Elizabeth II.) If he lived in the company town of Los Angeles rather than in Connecticut, he likely would have several more Oscar nominations before winning his first for "The Last Station".
As it is, as attested to in his witty and well-written autobiography, Plummer was amply rewarded in life. In 1970, Plummer - then a self-confessed 43-year-old "bottle baby" - married his third wife Elaine Taylor, a dancer, who helped wean him off his dependency on alcohol. They lived happily with their dogs on a 30-acre estate in Weston, Connecticut. He thanked her from the stage during the 2012 Oscar telecast, quipping that she "deserves the Nobel Peace Prize for coming to my rescue every day of my life." Although he spent the majority of his time in the United States, he remained a Canadian citizen. He died in his Weston, Connecticut home on February 5, 2021 at age 91.
His daughter, with actress Tammy Grimes, is actress Amanda Plummer.2797 points- Awashima Chikage was born as Nakagawa Keiko to store owner parents in Tokyo, Japan on 24.02.1924. Awashima began her entertainment career as part of the semi famous Takarazuka Revue of Kansai where she trained and performed beginning age fifteen. Her stage name was taken from a Japanese poem. She began her screen career in 1950 and went on to star in the comedy film adaptations of the Japanese novels called Ekimae ('station front'). Both as part of this series and separately she worked with director Shiro Toyoda more than a dozen times. Early accolade came her way when her performance for director Minoru Shibuya, Tenya Wanya (1950), won her the critics' award for the Best Actress of the year. At this point the audiences and critics thought of her as one of the nation's more famous beauties. By far her most impactful appearance, however, were the three films of Ozu Yasujiro she starred in. These came about as part of her contact with the Shochiku studio. She was furthermore in the masterpiece film The Human Condition I: No Greater Love. She remained consistently active until the late '60s, by which time she was working for Toho Studio, after which she would work irregularly in front of the camera and also on stage. She was awarded the Medal with Purple Ribbon in 1988 and Order Of The Precious Crown, 4th Class, Wisteria in 1995. The Purple Ribbon is awarded for academic or artistic accomplishment while Order Of The Precious Crown is typically reserved for females in Japan. Awashima was an honourary Vice President of Japan's actors' guild until 2007 for her advocacy of actors and actresses' rights. She was 87 when she died on 16.02.2012 after contracting pancreatic cancer. Many actors and actresses attended her funeral. There was a report that she died leaving debts behind, but it was also claimed that the debts were piled on by others and not her personally. Chikage never married. She is buried at Gokokuji, a temple in Tokyo.2793 points
- Actress
- Producer
- Additional Crew
Janet Leigh was the only child of a couple who often moved from town to town. Living in apartments, Janet was a bright child who skipped several grades and finished high school when she was 15. A lonely child, she would spend much of her time at movie theaters. She was a student, studying music and psychology, at the University of the Pacific until she was "discovered" while visiting her parents in Northern California. Her father was working the desk at a ski resort where her mother worked as a maid. Retired MGM actress Norma Shearer saw a picture of Janet on the front desk and asked if she could borrow it. This led to a screen test at MGM and a starring role in The Romance of Rosy Ridge (1947). MGM was looking for a young naive country girl and Janet filled the bill perfectly. She would play the young ingénue in a number of films and work with such stars as Errol Flynn, Gary Cooper, James Stewart, Orson Welles and Judy Garland. She appeared in a number of successful films, including Little Women (1949), Angels in the Outfield (1951), Scaramouche (1952), Houdini (1953) and The Black Shield of Falworth (1954), among others. Janet would appear in a variety of films, from comedies to westerns to musicals to dramas. Of her more than 50 movies, she would be remembered for the 45 minutes that she was on the screen in the small-budget thriller Psycho (1960). Directed by Alfred Hitchcock, this 1960 classic would include the shower scene that would become a film landmark. Even though her character is killed off early in the picture, she would be nominated for an Academy Award and receive a Golden Globe. Her next film would be The Manchurian Candidate (1962), in which she starred with Frank Sinatra. For the rest of the decade, her appearances in films would be rare, but she worked with Paul Newman in Harper (1966). In the 1970s she appeared on the small screen in a number of made-for-TV movies. In 1980, she appeared alongside her daughter Jamie Lee Curtis in The Fog (1980), and later, in Halloween H20: 20 Years Later (1998). Janet Leigh died at age 77 in her home in Beverly Hills, California on October 3, 2004.2792 points- Actor
- Director
- Writer
John Cassavetes was a Greek-American actor, film director, and screenwriter. He is considered a pioneer of American independent film, as he often financed his own films.
Cassavetes was born in New York City in 1929 to Nicholas John Cassavetes (1893-1979) and his wife, Katherine Demetre (1906-1983). Nicholas was an immigrant from Greece, while Katherine was Greek-American who had been born in New York City. The Cassavetes family moved back to Greece in the early 1930s, and John learned Greek as his primary language. The family moved back to the United States around 1936, possibly to evade Greece's new dictatorship, the 4th of August Regime (1936-1941). Young John had to learn to speak English. He spent his late childhood and most of his teenage years in Long Island, New York. From 1945-47, he attended the Port Washington High School. He wrote for the school newspaper and the school yearbook. The 18-year-old Cassavetes was then transferred to the Blair Academy, a boarding school located in Blairstown, New Jersey. When the time came for him to start college, Cassavetes enrolled at Champlain College (in Burlington, Vermont) but was expelled owing to poor grades.
After a brief vacation to Florida, Cassavetes enrolled at the American Academy of Dramatic Arts (AADA), in New York City. Several of his old friends were already students there and had recommended it to Cassavetes, who would be mentored by Don Richardson (1918-1996). After graduating, he began to regularly perform on stage while also appearing in small roles in films and television shows.
Cassavetes's first notable film role was that of Robert Batsford, one of the three villains (along with Vince Edwards and David Cross) in The Night Holds Terror (1955). His next major role was juvenile delinquent Frankie Dane in the crime film "Crime in the Streets" (1956). He won a lead role in Edge of the City (1957) as drifter Axel Nordmann. His co-star for the film was Sidney Poitier, who played stevedore Tommy Tyler. The film helped break new ground, portraying a working-class interracial friendship. Cassavetes gained critical acclaim for his role, and film critics compared him to Marlon Brando. Cassavetes's success as an actor led to his becoming a contract player for MGM. In 1959, he directed his first film, Shadows (1958). It depicted the lives of three African-American siblings in New York City. It won the Critics Award at the Venice Film Festival.
His next directing effort, Too Late Blues (1961), was about the professional and romantic problems of a struggling jazz musician. The film was poorly received at the time, though its autobiographical elements are considered remarkable. Cassavetes then directed A Child Is Waiting (1963), which depicted life in a state institution for mentally handicapped and emotionally disturbed children. The film was a documentary-style portrayal of problems in the social services. It was praised by critics but failed at the box office.
In 1968, Cassavetes had a comeback as a director with Faces (1968), which depicts a single night in the life of a middle-aged married couple. After 14 years of marriage, the two feel rather miserable and seek happiness in the company of friends and the beds of younger lovers, but neither manages to cure their sense of misery. The film gained critical acclaim, and, in 2011, was selected for preservation in the United States National Film Registry.
Cassavetes returned to the theme of a midlife crisis in his next film, Husbands (1970). The film depicts three middle-aged men, professionally successful and seemingly happily married. The death of a close childhood friend reminds them of their own mortality, and of their fading memories of youth. They flee their ordinary lives with a shared vacation to London, but their attempts to rejuvenate themselves fail. This film attracted mixed reviews, with some critics praising its "moments of piercing honesty" and others finding fault with its rambling dialogue.
Cassavetes's next film was Minnie and Moskowitz (1971), about the romantic relationship between a seemingly incompatible couple, jaded museum curator Minnie Moore and the temperamental drifter Seymour Moskowitz. It was well received and garnered Cassavetes a Writers Guild of America Award for Best Comedy Written Directly for the Screen. His next film was A Woman Under the Influence (1974), concerning the effects of mental illness on a working-class family. In the film, ordinary housewife Mabel Longhetti starts displaying signs of a mental disorder. She undergoes psychiatric treatment for six months while her husband, Nick Longhetti, attempts to play the role of a single father. But Nick seems to be a social misfit in his own right, and neither parent seems to be "normal". Cassavetes was nominated for an Academy Award for Best Director for this film, but the award was won by Francis Ford Coppola.
Cassavetes next directed the gritty crime film, The Killing of a Chinese Bookie (1976). In the film, Korean War veteran and cabaret owner Cosmo Vittelli owes a large debt to a criminal organization and is coerced to serve as their hit-man in an assassination scheme. He has been told that the target is an insignificant bookie, but after the assassination Vittelli learns that he just killed a high-ranking crime boss of the Chinese mafia and that he himself is now a target for assassination. The film gained good reviews and a cult following.
His next film, Opening Night (1977), was more enigmatic, mixing drama with horror elements. Protagonist Myrtle Gordon (played by Cassavetes's wife, Gena Rowlands) is a famous actress, but aging and dissatisfied with the only theatrical role available to her. After seeing teenager Nancy Stein, one of her obsessive fans , get killed in a car accident, Myrtle starts having visions of Nancy's ghost. As she keeps fighting the ghost, drinking heavily and chain-smoking, the film ends without explaining what seems to be going wrong with Myrtle's perception of reality. The film was a hit in Europe but flopped in the United States.
Cassavetes had another directing comeback with "Gloria" (1980). In the film, Gloria Swenson (formerly a gangster's girlfriend) is asked to protect Phil Dawn, the young son of an FBI informant within a New York crime family. After the apparent assassination of Phil's parents, Gloria finds herself targeted by gangsters and wanted by the police as a kidnapping suspect. The film won the Golden Lion award at the Venice Film Festival, and protagonist Gena Rowlands was nominated for several acting awards.
Cassavetes's 11th directing effort was the rather unconventional drama Love Streams (1984), about the relationship between two middle-aged siblings. In the film, Sarah Lawson suffers from depression following a messy divorce and moves in with her brother, Robert Harmon, an alcoholic writer with self-destructive tendencies. Though estranged from his ex-wife and his only son and unable to protect himself from violent foes, in the end Robert finally has someone for whom to care. The film won the Golden Bear at the Berlin International Film Festival.
Cassavetes' swan song as a director was the comedy Big Trouble (1986), replacing the much younger Andrew Bergman. The film concerns an insurance agent who needs $40,000 for college tuition for his three daughters. He agrees to cooperate in an insurance scam with the wife of one of his clients, though the plan may require them to murder her husband. Several elements of the film were recycled from the plot of the iconic film noir Double Indemnity (1944), and "Big Trouble" served as its unofficial remake. The film was unsuccessful, and Cassavetes himself reportedly disliked the script.
In the late 1980s, Cassavetes suffered from health problems and his career was in decline. He died in 1989 from cirrhosis of the liver caused by many years of heavy drinking. He was only 59 years old. He is buried at the Westwood Village Memorial Park in Los Angeles, having left more than 40 unproduced screenplays and an unpublished novel. His son, Nick Cassavetes, eventually used one of the unproduced screenplays to direct a new film, the romantic drama, She's So Lovely (1997). It was released eight years after the death of John Cassavetes, and was well received by critics.2781 points- Ed Crowley was born on 5 September 1926 in Lewiston, Maine, USA. He was an actor, known for Witness (1985), Serpico (1973) and Three Days of the Condor (1975). He was married to Ruth Baker. He died on 11 March 2013 in Asheville, North Carolina, USA.2781 points
- Actress
- Soundtrack
Patricia Neal, the Oscar and Tony Award-winning actress, was born Patsy Louise Neal in Packard, Kentucky, where her father managed a coal mine and her mother was the daughter of the town doctor. She grew up in Knoxville, Tennessee, where she attended high school. She was first bit by the acting bug at the age of 10, after attending an evening of monologues at a Methodist church. She subsequently wrote a letter to Santa Claus, telling him, "What I want for Christmas is to study dramatics". She won the Tennessee State Award for dramatic reading while she was in high school.
She apprenticed at the Barter Theater in Abingdon, Virginia, when she was 16-years-old, between her junior and senior years in high school. After studying drama for two years at Northwestern University, she headed to New York City and landed the job as an understudy in The Voice of the Turtle (1947). It was the producer of the play that had her change her name from Patsy Louise to Patricia. After replacing Vivian Vance in the touring company of "Turtle", she won a role in a play that closed in Boston and then appeared in summer stock. She won the role of the teenage "Regina" in Lillian Hellman's play, Another Part of the Forest (1948), for which she won a Tony Award in 1947. Subsequently, she signed a seven-year contract with Warner Bros.
In the first part of her film career, her most impressive roles were in The Fountainhead (1949), opposite Gary Cooper, with whom she had three-year-long love affair, and in director Robert Wise's sci-fi classic, The Day the Earth Stood Still (1951), which she made at 20th Century-Fox. Warners hadn't been thrilled with her and let her go before her contract was up, so she signed with Fox. With her film career stagnating, she returned to Broadway and achieved the success that eluded her in films, appearing in the revival of Hellman's play, The Children's Hour (1961), in 1952. She met and married writer, Roald Dahl, in 1953, and they would have five children in 30 years of marriage.
In 1957, she had one of her finest roles in Elia Kazan's parable about the threat of mass-media demagoguery and home-grown fascism in A Face in the Crowd (1957). Before she had appeared in the movie, Neal had taken over the role of "Maggie" in Tennessee Williams' Cat on a Hot Tin Roof (1958), the Broadway smash that had been directed by Kazan. Returning to the stage, she appeared in the London production of Williams' Suddenly, Last Summer (1959) and co-starred with Anne Bancroft in the Broadway production of The Miracle Worker (1962).
After appearing in Breakfast at Tiffany's (1961), she had what was arguably her finest role, as Alma the housekeeper, in Hud (1963) opposite Paul Newman. The film was a hit and Neal won the Best Actress Oscar. In 1965, she suffered a series of strokes that nearly killed her. She was filming John Ford's film, 7 Women (1965), at the time, and had to be replaced by Anne Bancroft (who would later take a role she turned down, that of "Mrs. Robinson" in The Graduate (1967)). Neal was pregnant at the time.
She underwent a seven-hour operation on her brain and survived, later delivering her fifth child. She underwent rehabilitation supervised by her husband. She had turned down The Graduate (1967) as she had not recovered fully from her stroke. When she returned to the screen, in 1968 in The Subject Was Roses (1968), she suffered from memory problems. According to her director, Ulu Grosbard, "The memory element was the uncertain one. But when we started to shoot, she hit her top level. She really rises to the challenge. She has great range, even more now than before".
She received an Oscar nomination for her work. Subsequently, new acting roles equal to her talent were sparse. She did receive three Emmy nominations, the first for originating the role of "Olivia Walton" in the 1971 TV movie The Homecoming: A Christmas Story (1971), that gave birth to the TV show The Waltons (1972).
Patricia Neal died on August 9, 2010 in Edgarton, Massachusetts from lung cancer. She was 84 years old.2771 points- Actor
- Soundtrack
Paul Crauchet was born on 14 July 1920 in Béziers, Hérault, France. He was an actor, known for The Red Circle (1970), Belphégor ou le fantôme du Louvre (1965) and My Father's Glory (1990). He was married to Suzon. He died on 19 December 2012 in Rocbaron, Var, France.2766 points- Actress
- Additional Crew
She was one British character player who seemed to show up everywhere on post-war film, stage and TV, although, more times than not, could barely be glimpsed. A most efficient actress, Marianne Stone's career spanned four decades and was primarily enjoyed in bawdy, ribald comedy playing lowbrow or working-class ladies about town (waitresses, barmaids, clerks, shrews, landladies, secretaries, receptionists, etc.)
Born in King's Cross, London, on August 23, 1922, the dark-haired Marianne was raised by her grandparents who were furniture owners. Her grandmother also ran her own music school and Marianne benefited from that. Winning a music scholarship to the Camden School for Girls, she instead studied at the Royal College of Music, then earned an acting scholarship to the Royal Academy of Dramatic Art in 1940. Following her graduation she initially made ends meet by working as secretary types in offices, and also found work as an assistant manager for various stock companies. She made her on-stage West End debut in 1945 with a role in "The King Maker" at age 23. A high point for her, as for her stage work, was winning the Gertrude Lawrence Award for "Character Acting".
Marianne moved quickly into films following WWII with minuscule roles in such films as Brighton Rock (1948) and Escape Dangerous (1947). During the latter film's shoot, she met her future husband, actor/producer, Peter Noble, who went on to become a noted London show business columnist, theatre critic and film historian. They married in 1947 and had two daughters Katina Noble and Kara Noble . Of the hundreds of films she appeared in, some "A" but primarily "B" pictures, Marianne was given the chance to shine in only a few.
Producing/directing brothers Roy Boulting and/or John Boulting utilized her presence in several of their films, albeit minor, including Seven Days to Noon (1950), High Treason (1951), Brothers in Law (1957), I'm All Right Jack (1959), Man in a Cocked Hat (1959) and Heavens Above! (1963). Marianne also became a steadfast player (nine total) in the highly popular "Carry On..." slapstick movie series beginning with Carry on Nurse (1959) and finishing a decade and a half later with Carry on Behind (1975). Her most engaging cameo in the series came with her old hag role in Carry on Dick (1974). In what would have been her tenth film in the series, she was deleted from the final print of Carry on Matron (1972).
While Marianne enjoyed a more visible part in Passport to Treason (1956), her most sharply-defined roles on celluloid was arguably that of co-writer Vivian Darkbloom in Lolita (1962) starring James Mason, Shelley Winters, Peter Sellers and nubile Sue Lyon in the title role. Supposedly it was Winters (who wound up staying with Stone during the film's shooting) who helped Marianne get the part. Ironically, one of Stone's last film, Déjà Vu (1985) also happened to feature Winters. A few of the character lady's bawdier 70s film work included Au Pair Girls (1972), the similarly-styled "Carry On" film Bless This House (1972), The Love Ban (1973), Mistress Pamela (1973), The Cherry Picker (1974) and Confessions of a Window Cleaner (1974).
On TV Marianne was seen in such colorful productions as Eccentricities of a Nightingale (1976), Little Lord Fauntleroy (1976) and the mini-series A Man Called Intrepid (1979). Marianne's husband Peter predeceased her (1997) and she herself died on December 21, 2009, at the age of 87. Survived by her children, one of her daughters, Kara Noble appeared with her mother in the film Funny Money (1983).2763 points- Actor
- Soundtrack
Birger Malmsten was born on 23 December 1920 in Gräsö, Uppsala län, Sweden. He was an actor, known for A Ship to India (1947), It Rains on Our Love (1946) and Eva (1948). He was married to Haide Göransson. He died on 15 February 1991 in Stockholm, Stockholms län, Sweden.2759 points- Actor
- Producer
Richard Anderson appeared in high school plays, served a hitch in the Army and, upon his discharge, began doing summer stock, radio work, a movie bit part (a wounded soldier in Twelve O'Clock High (1949)) and all the other minor jobs required of your basic struggling actor. He did comedy scenes on a "screen test"-like TV series called Lights, Camera, Action! (1950) and impressed the right people at MGM, who offered him a contract. After leaving MGM he continued to dabble in movies while at the same time becoming a huge presence on TV. He was a regular (Police Lt. Drum) during the last season of TV's Perry Mason (1957); in the series' last episode, he interrogates witnesses to a murder in a TV studio--the witnesses being played by the "Perry Mason" crew. In the high-rated last episode of The Fugitive (1963) he plays Richard Kimble's (David Janssen) brother-in-law, and is briefly suspected of being the real killer of Kimble's wife. A regular on The Six Million Dollar Man (1974), Anderson has more recently produced the TV-movie reprises of that series.2754 points- Actor
- Soundtrack
In 1959, Tyner appeared on Broadway with Paul Newman and Geraldine Page in Sweet Bird of Youth. Duly impressed by Tyner's work, Newman brought his theatrical coworker to Hollywood eight years later to play "Boss Higgins", the sadistic prison camp guard in Cool Hand Luke (1967).
It was the first of many such roles for Tyner, who spent the next several years playing a variety of tight-lipped, vicious rural authority figures. Better known roles in this vein include "Unger", the snitching, murderous trustee in the Burt Reynolds prison comedy, The Longest Yard (1974).
Less brutal but no less inimitable was Tyner's interpretation of "Uncle Victor" in the 1971 cult classic Harold and Maude (1971). He returned to the stage in 1977, occasionally stepping before the cameras for such TV movies as The Incredible Journey of Doctor Meg Laurel (1979), theatrical features such as Hamburger: The Motion Picture (1986) and Planes, Trains & Automobiles (1987), as well as a recurring role as "Howard Rodman" on the television drama Father Murphy (1981).2753 points- Actress
- Director
- Soundtrack
Irene Papas was born on 3 September 1929 in Chilimodion, Corinth, Greece. She was an actress and director, known for The Guns of Navarone (1961), The Message (1976) and Electra (1962). She was married to José Kohn and Alkis Papas. She died on 14 September 2022 in Chiliomodion, Corinthia, Greece.2725 points- Richard Dysart served for four years in the Air Force during the Korean War. He was a founding member of the American Conservatory Theatre, San Francisco. He received the Drama Desk Award in 1972 and a Emmy Award in 1992. He was good friends with Diana Muldaur, who played Rosalind Shays on L.A. Law.2710 points
- The archetypal screen tough guy with weatherbeaten features--one film critic described his rugged looks as "a Clark Gable who had been left out in the sun too long"--Charles Bronson was born Charles Buchinsky, one of 15 children of struggling parents in Pennsylvania. His mother, Mary (Valinsky), was born in Pennsylvania, to Lithuanian parents, and his father, Walter Buchinsky, was a Lithuanian immigrant coal miner.
He completed high school and joined his father in the mines (an experience that resulted in a lifetime fear of being in enclosed spaces) and then served in WW II. After his return from the war, Bronson used the GI Bill to study art (a passion he had for the rest of his life), then enrolled at the Pasadena Playhouse in California. One of his teachers was impressed with the young man and recommended him to director Henry Hathaway, resulting in Bronson making his film debut in You're in the Navy Now (1951).
He appeared on screen often early in his career, though usually uncredited. However, he made an impact on audiences as the evil assistant to Vincent Price in the 3-D thriller House of Wax (1953). His sinewy yet muscular physique got him cast in action-type roles, often without a shirt to highlight his manly frame. He received positive notices from critics for his performances in Vera Cruz (1954), Target Zero (1955) and Run of the Arrow (1957). Indie director Roger Corman cast him as the lead in his well-received low-budget gangster flick Machine-Gun Kelly (1958), then Bronson scored the lead in his own TV series, Man with a Camera (1958). The 1960s proved to be the era in which Bronson made his reputation as a man of few words but much action.
Director John Sturges cast him as half Irish/half Mexican gunslinger Bernardo O'Reilly in the smash hit western The Magnificent Seven (1960), and hired him again as tunnel rat Danny Velinski for the WWII POW big-budget epic The Great Escape (1963). Several more strong roles followed, then once again he was back in military uniform, alongside Lee Marvin and Ernest Borgnine in the testosterone-filled The Dirty Dozen (1967).
European audiences had taken a shine to his minimalist acting style, and he headed to the Continent to star in several action-oriented films, including Guns for San Sebastian (1968) (aka "Guns for San Sebastian"), the cult western Once Upon a Time in the West (1968) (aka "Once Upon a Time in The West"), Rider on the Rain (1970) (aka "Rider On The Rain") and, in one of the quirkier examples of international casting, alongside Japansese screen legend Toshirô Mifune in the western Red Sun (1971) (aka "Red Sun").
American audiences were by now keen to see Bronson back on US soil, and he returned triumphantly in the early 1970s to take the lead in more hard-edged crime and western dramas, including The Valachi Papers (1972) and the revenge western Chato's Land (1972). After nearly 25 years as a working actor, he became an 'overnight" sensation. Bronson then hooked up with British director Michael Winner to star in several highly successful urban crime thrillers, including The Mechanic (1972) and The Stone Killer (1973). He then scored a solid hit as a Colorado melon farmer-done-wrong in Richard Fleischer's Mr. Majestyk (1974). However, the film that proved to be a breakthrough for both Bronson and Winner came in 1974 with the release of the controversial Death Wish (1974) (written with Henry Fonda in mind, who turned it down because he was disgusted by the script).
The US was at the time in the midst of rising street crime, and audiences flocked to see a story about a mild-mannered architect who seeks revenge for the murder of his wife and rape of his daughter by gunning down hoods, rapists and killers on the streets of New York City. So popular was the film that it spawned four sequels over the next 20 years.
Action fans could not get enough of tough guy Bronson, and he appeared in what many fans--and critics--consider his best role: Depression-era street fighter Chaney alongside James Coburn in Hard Times (1975). That was followed by the somewhat slow-paced western Breakheart Pass (1975) (with wife Jill Ireland), the light-hearted romp (a flop) From Noon Till Three (1976) and as Soviet agent Grigori Borsov in director Don Siegel's Cold War thriller Telefon (1977).
Bronson remained busy throughout the 1980s, with most of his films taking a more violent tone, and he was pitched as an avenging angel eradicating evildoers in films like the 10 to Midnight (1983), The Evil That Men Do (1984), Assassination (1987) and Kinjite: Forbidden Subjects (1989). Bronson jolted many critics with his forceful work as murdered United Mine Workers leader Jock Yablonski in the TV movie Act of Vengeance (1986), gave a very interesting performance in the Sean Penn-directed The Indian Runner (1991) and surprised everyone with his appearance as compassionate newspaper editor Francis Church in the family film Yes Virginia, There Is a Santa Claus (1991).
Bronson's final film roles were as police commissioner Paul Fein in a well-received trio of crime/drama TV movies Family of Cops (1995), Breach of Faith: A Family of Cops II (1997) and Family of Cops III: Under Suspicion (1999). Unfortunately, ill health began to take its toll; he suffered from Alzheimer's disease for the last few years of his life, and finally passed away from pneumonia at Los Angeles' Cedars-Sinai Medical Center in August 2003.
Bronson was a true icon of international cinema; critics had few good things to say about his films, but he remained a fan favorite in both the US and abroad for 50 years, a claim few other film legends can make.2691 points - Actress
- Soundtrack
Donna Reed was born in the midwestern town of Denison, Iowa, on January 27, 1921, as Donna Belle Mullenger. A small town - a population of less than 3,000 people - Denison was located by the Boyer River, and was the county seat of Crawford County. Donna grew up as a farm girl, much like many young girls in western Iowa, except for one thing - Donna was very beautiful. That wasn't to say that others weren't as pretty, it's just that Donna's beauty stood out from all the other local girls, so much so that she won a beauty contest in Denison. Upon graduation from high school Donna left for college in Los Angeles, in the hopes of eventually entering movies. While at Los Angeles City College, she pursued her dream by participating in several college stage productions. In addition to the plays, she also won the title of Campus Queen. At one of those stage plays Donna was spotted by an MGM talent scout and was signed to a contract. Her first film was a minor role in MGM's The Getaway (1941). That was followed by a small part in Babes on Broadway (1941), with Mickey Rooney and Judy Garland as a secretary. She then won her breakthrough role in Shadow of the Thin Man (1941). Afterwards, MGM began giving her better parts, in films such as The Bugle Sounds (1942), The Courtship of Andy Hardy (1942) and The Man from Down Under (1943). In 1944 she received second billing playing Carol Halliday in See Here, Private Hargrove (1944), a comedy about a reporter drafted into the army who eventually meets up with Donna's character as a worker in the canteen. The following year Donna starred in The Picture of Dorian Gray (1945), her best role to date. It was a love story set in London in 1890. It got mixed critical reviews but did well at the box-office. Donna was now one of the leading ladies of Hollywood. In 1946 she starred in what is probably her best-known role, as the wife of James Stewart in the classic It's a Wonderful Life (1946). This timeless story is a holiday staple to this day. The film also starred Lionel Barrymore and Thomas Mitchell. The next year Donna starred as Ann Daniels in Paramount's Beyond Glory (1948) with Alan Ladd, which did well at the box-office. Her next role was the strongest she had had yet--Chicago Deadline (1949), again with Ladd. It was one of the best mystery dramas to come out of Hollywood in a long time, and did very well at the box office. As the 1940s faded out and the 1950s stormed in, Donna's roles got bigger but were mainly of the wholesome, girl-next-door type. In 1953, however, she starred as the hostess Alma in the widely acclaimed From Here to Eternity (1953). She was so good in that film she was nominated for and won the Academy Award for Best Supporting Actress, beating out such veterans as Thelma Ritter and Marjorie Rambeau. The film itself won for Best Picture and remains a classic to this day. Later that year Donna starred in The Caddy (1953), a comedy with Jerry Lewis and Dean Martin. Three years later she landed the role of Sacajawea in The Far Horizons (1955), the story of the Lewis and Clark Expedition, starring Charlton Heston and Fred MacMurray. After finishing The Whole Truth (1958), Donna began her own TV series (produced by her husband), The Donna Reed Show (1958), a hit that ran for eight years. She was so effective in the show that she was nominated for TV's prestigious Emmy Award as Best Actress every year from 1959-1962. She was far more popular in TV than on the screen. After the run of the program, Donna took some time away from show business before coming back in a couple of made-for-TV movies (in 1974, she had made a feature called Welcome to Arrow Beach (1973), but it was never released). She did get the role of Ellie Ewing Farlow in the hit TV series Dallas (1978) during the 1984-85 season. It was to be her final public performance. On January 14, 1986, less than two weeks before her 65th birthday, she died of pancreatic cancer in Beverly Hills, California. Grover Asmus, her husband, created the Donna Reed Foundation for the Performing Arts in her hometown of Denison. The foundation helps others who desire a career in the arts. Donna never forgot her roots. She was still a farm girl at heart.2677 points- Actor
- Writer
- Producer
Veteran Broadway, TV and film actor James Karen was encouraged as a young man to take up an acting career by U.S. Congressman Daniel J. Flood, who was an amateur actor himself. In 1947 Karen made his Broadway debut in "A Streetcar Named Desire", which led to appearances in over 20 Broadway productions. His television work began in 1948 with the telecast of "A Christmas Carol", directed by pioneer television producer / director Fred Coe. Since then he has acted in over 100 television shows, including a stint as as Chief Justice Michael Bancroft on First Monday (2002) for CBS. In 1965 he began his film work in the low-budget sci-fi "epic" Frankenstein Meets the Spacemonster (1965) and now has an impressive resume of over 80 movies to his credit. He has also filmed a record-breaking 5,000+ television commercials, most while a spokesperson for the Pathmark Supermarket chain in the northeast US. He has been honored with the "Saturn Award" for Lifetime Achievement given by the Academy of Science Fiction, Fantasy and Horror Films. He has also been presented "The Buster Award", by The International Buster Keaton Society. This award is given to the person who has demonstrated professional excellence in the tradition of Buster Keaton.2672 points- Actor
- Writer
- Director
Per Oscarsson was born on 28 January 1927 in Stockholm, Stockholms län, Sweden. He was an actor and writer, known for Hunger (1966), The Girl Who Played with Fire (2009) and Ronia: The Robber's Daughter (1984). He was married to Gerd Hegnell and Kia Östling. He died on 31 December 2010 in Skara, Västra Götalands län, Sweden.2648 points- Philip Stone was an English character actor, born in Leeds, West Yorkshire, in 1924. His first job was for an engineering company in Leeds and he served in the Royal Air Force during the Second World War. He was on stage at the West End in London from 1947. He also contracted tuberculosis that year and was forced to give up acting for several years to undergo treatment.
Stanley Kubrick noticed him during 1969 while acting in "The Contractor" at the Royal Court Theatre. Stone was the only actor to appear in three consecutive Kubrick films. He played the central character Alex's "P" (as in "M" and "P" for "Ma" and "Pa") in A Clockwork Orange (1971), and then subsequently played Graham, the Lyndon family lawyer, in Barry Lyndon (1975), and Delbert Grady, the original caretaker who murdered his family in The Shining (1980). The only other actor to be credited in three Kubrick films is Joe Turkel. Other film roles included Thunderball (1965), Where Eagles Dare (1968), Quest for Love (1971), Flash Gordon (1980) and Indiana Jones and the Temple of Doom (1984). In the animated version of The Lord of the Rings (1978), he voiced the role of Theoden.
Stone was also a prolific stage and television actor, appearing in many popular TV series, including the very first episode of The Avengers (1961), as well as Dalziel and Pascoe (1996), A Touch of Frost (1992), Heartbeat (1992), Yes Minister (1980) and Coronation Street (1960). At one time he fronted his own production company, Philip Stone Productions. He died of a heart attack in London in 2003, aged 79.2642 points - Actor
- Writer
- Director
Aleksei Vladimirovich Batalov was born on November 20, 1928, into the family of famous Russian theatrical actor Vladimir Batalov. He was born in the city of Vladimir, near Moscow, where his grandmother was the Doctor General at the Vladimir city hospital. His parents, Vladimir Petrovich Batalov and Nina Antonovna Olshevskaya, were both actors of the Moscow Art Theatre (MKhAT), under the directorship of Konstantin Stanislavski and Vladimir Nemirovich-Danchenko. His uncle, named Nikolay Batalov, was a distinguished film actor.
The Batalov family lived in the actor's apartments building at the Moscow Art Theatre. There young Aleksei got early exposure to the acting profession. He then moved with his mother to the home of her second husband writer Viktor Ardov, who was the neighbor of Osip Mandelstam. Young Batalov became a good friend of poet Anna Akhmatova who stayed in his room during her many visits to Moscow. Later, in the 1960's, Aleksei Batalov painted an oil portrait of Anna Akhmatova. Writers Mikhail A. Bulgakov, Mikhail Zoschenko, Boris Pasternak were among the closest friends of the Batalov's family, being also the colleagues of his stepfather Viktor Ardov.
In 1945, upon his return from evacuation in Tatarstan, Aleksei Batalov made his film debut as a cameo in 'Zoya'. He studied acting professionally at the Moscow Art Theatre's Acting Studio-School of Vladimir Nemirovich-Danchenko from which he graduated in 1950, as an actor. That same year he was drafted in the Red Army and worked as an actor with the Central Theatre of the Soviet Army from 1950-1953. He then returned to the Moscow Art Theatre and was a permanent member of the troupe through 1957.
Batalov shot to fame with his role in 'Bolshaya Semya' (The Big Family 1954) directed by 'Iosif Kheifets'. For that role he won the Best Actor award at the Cannes Film Festival, which he shared with his partners Sergei Lukyanov, Boris Andreyev, Nikolai Gritsenko, Pavel Kadochnikov, and others; the whole ensemble of actors and actresses were awarded for that film at Cannes, in 1955.
Aleksei Batalov received more international acclaim for his memorable acting opposite Tatyana Samoylova in The Cranes Are Flying (1957) (aka.. The Cranes Are Flying) for which director Mikhail Kalatozov won the Golden Palm at Cannes, in 1958. Batalov won the Jussi Diploma of Merit (1962) for the supporting role in 'Dama s sobachkoi' (aka.. The Lady with the Dog), a story by Anton Chekhov directed by Iosif Kheifits. Batalov also worked with Kheifits in 'V gorode S.' (In the Town of S.), another story by Anton Chekhov. Alrksei Batalov himself directed three films; 'Shinel' (1960) on the story by Nikolay Gogol, 'Tri tolstyaka' (1966) by Yuriy Olesha, and 'Igrok' (1973) (aka.. The Gambler), an adaptation of the eponymous book by Fyodor Dostoevsky.
Aleksei Batalov earned the State Prize of the USSR for a strong and difficult leading role in '9 dney odnogo goda' (1961), for which director Mikhail Romm won Crystal Globe. Batalov's performance in the leading role of a Russian intellectual in 'Beg' (1970) based on the play by Mikhail A. Bulgakov, was somewhat overshadowed by the brilliant duo of his film partners Mikhail Ulyanov and Evgeniy Evstigneev. However, after a few years of his hiatus, Batalov made a successful comeback in 'Moskva slezam ne verit' (1979), which won an Oscar for the Best Foreign Language Film (1981).
In addition to his numerous international awards Batalov was honored with the title of the People's Artist of the USSR (1976). He was decorated and received many Soviet and Russian awards from the state. Batalov was the Dean of the Actors Studio at the Moscow State Film Institute (VGIK) from 1975 to 2005. He taught over 20 acting seminars in the USA and Canada. He also made notable works for the Moscow Radio.
Aleksei Batalov resided and worked in Moscow, Russia, where he died on June 14, 2017.2631 points- Actor
- Director
- Producer
George C. Scott was an immensely talented actor, a star of the big screen, stage and television. He was born on October 18, 1927 in Wise, Virginia, to Helena Agnes (Slemp) and George Dewey Scott. At the age of eight, his mother died, and his father, an executive at Buick, raised him. In 1945, he joined the United States Marines and spent four years with them, no doubt an inspiration for portraying General George S. Patton years later. When Scott left the Marines, he enrolled in journalism classes at the University of Missouri, but it was while performing in a play there that the acting bug bit him. He has said it "clicked, just like tumblers in a safe."
It was in 1957 that he landed a role in "Richard III" in New York City. The play was a success and brought the young actor to the attention of critics. He soon began to get work on television, mostly in live broadcasts of plays, and he landed the role of the crafty prosecutor in Anatomy of a Murder (1959). It was this role that got him his first Oscar nomination, for Best Supporting Actor.
However, George and Oscar wouldn't actually become the best of friends. In fact, he felt the whole process forced actors to become stars and that the ceremony was little more than a "meat market." In 1962, he was nominated again for Best Supporting Actor, this time opposite Paul Newman in The Hustler (1961), but sent a message saying "No, thanks" and refused the nomination.
However, whether he was being temperamental or simply stubborn in his opinion of awards, it did not seem to stop him from being nominated in the future. "Anatomy" and "The Hustler" were followed by the clever mystery The List of Adrian Messenger (1963), in which he starred alongside Kirk Douglas, Robert Mitchum and cameos by major stars of the time, including Burt Lancaster and Frank Sinatra. It's a must-see, directed by John Huston with tongue deeply in cheek.
The following year, Scott starred as General "Buck" Turgidson in Stanley Kubrick's comical anti-war film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). This became one of his favorites and he often said that he felt guilty getting paid for it, as he had so much fun making it. Another comedy followed, The Flim-Flam Man (1967), with Scott playing a smooth-talking con artist who takes on an apprentice whom he soon discovers has too many morals.
Three years followed, with some smaller television movies, before he got the role for which he will always be identified: the aforementioned General Patton in Patton (1970). This was a war movie that came at the end of a decade where anti-war protests had rocked a nation and become a symbol of youth dissatisfied with what was expected of them. Still, the actor's portrayal of this aggressive military icon actually drew sympathy for the controversial hero. He won the Oscar this time, but stayed at home watching hockey instead.
A pair of films that he made in the early 1980s were outstanding. The first of these was The Changeling (1980), a film often packaged as a horror movie but one that's really more of a supernatural thriller. He plays John Russell, a composer and music professor who loses his wife and daughter in a tragic accident. Seeking solace, he moves into an archaic mansion that had been unoccupied for 12 years. However, a child-like presence seems to be sharing the house with him and trying to share its secrets with him. From learning of the house's past, he discovers its horrific secret of long ago, a secret that the presence will no longer allow to be kept.
Then he starred -- along with a young cast of then largely unknowns, including Timothy Hutton, Sean Penn and Tom Cruise -- in the intense drama Taps (1981). He played the head of a military academy that's suddenly slated for destruction when the property is sold to local developers who plan to build condos. The students take over the academy when they feel that the regular channels are closed to them.
Scott kept up in films, television and on stage in the later years of his life (Broadway dimmed its lights for one minute on the night of his death). Among his projects were playing Ebenezer Scrooge in a worthy television update of A Christmas Carol (1984), an acclaimed performance on Broadway of "Death of a Salesman", the voice of McLeach in Disney's The Rescuers Down Under (1990) and co-starring roles in television remakes of two classic films, 12 Angry Men (1997) and Inherit the Wind (1999), to name just a few. After his death the accolades poured in, with Jack Lemmon saying, "George was truly one of the greatest and most generous actors I have ever known," while Tony Randall called him "the greatest actor in American history".2621 points- Actor
- Soundtrack
Broad-shouldered and beefy Claude Akins had wavy black hair, a deep booming voice and was equally adept at playing sneering cowardly villains as he was at portraying hard-nosed cops. The son of a police officer, Akins never seemed short of work and appeared in nearly 100 films and 180+ TV episodes in a career spanning over 40 years. He originally attended Northwestern University, and went on to serve with the US Army Signal Corps in World War II in Burma and the Phillipines. Upon returning, he reignited his interest in art and drama and first appeared in front of the camera in 1953 in From Here to Eternity (1953). He quickly began notching up roles in such TV shows as Dragnet (1951), My Friend Flicka (1955), Gunsmoke (1955) and Zane Grey Theatre (1956). He also turned in several strong cinematic performances, such as gunfighter Joe Burdette in the landmark western Rio Bravo (1959), Mack in the excellent The Defiant Ones (1958), Sgt. Kolwicz in Merrill's Marauders (1962) and Earl Sylvester in the gripping The Killers (1964). In the early 1970s Akins turned up in several supernatural TV films playing "no-nonsense" sheriffs in both The Night Stalker (1972) and The Norliss Tapes (1973), and was unrecognizable underneath his simian make-up as war-mongering Gen. Aldo in Battle for the Planet of the Apes (1973). Akins continued starring in films and TV right up until the time of his death from cancer in 1994. By all reports a very gregarious, likable and friendly person off screen, Akins was married for over 40 years to Theresa "Pie" Fairfield, and had three children, Claude Marion Jr., Michele & Wendy.2601 points- Actor
- Soundtrack
Eiji Okada was born on 13 June 1920 in Chiba, Japan. He was an actor, known for Hiroshima Mon Amour (1959), Woman in the Dunes (1964) and The Boy Detectives Club - The Iron Fiend (1957). He was married to Wasa, Aiko. He died on 14 September 1995 in Japan.2591 points- Actor
- Additional Crew
Takeshi Katô was born on 24 May 1929 in Tokyo, Japan. He was an actor, known for Yojimbo (1961), The Hidden Fortress (1958) and The Devil's Island (1977). He was married to (?). He died on 31 July 2015 in Tokyo, Japan.2590 points- George Martin was born on 15 August 1929 in New York City, New York, USA. He was an actor, known for Dead Poets Society (1989), Awakenings (1990) and Léon: The Professional (1994). He was married to Katherine Helmond. He died on 1 June 2010 in Providence, Rhode Island, USA.2584 points
- Producer
- Actress
- Director
Daughter of Bernard Granville, Bonita Granville was born into an acting family. It's not surprising that she herself became a child actor, first on the stage and, at the age of 9, debuting in movies in Westward Passage (1932). She was regularly cast as a naughty little girl, as in These Three (1936) where she played Mary, an obnoxious girl spreading lies about her teachers. Her performance left an impression on the audience, and she was nominated for a best supporting actress award. In 1938-39 came the movies she is now best remembered for -- playing the bright and feisty detective/reporter Nancy Drew in the Nancy Drew series. She also appeared with Mickey Rooney in a few Andy Hardy movies. She never really had a movie breakthrough, and after marrying oil millionaire & later producer Jack Wrather, she retired from acting in the middle of the 1950s, although she went on to produce the Lassie (1954) TV series.2580 points- Actor
- Producer
- Director
Amiable and handsome James Garner had obtained success in both films and television, often playing variations of the charming anti-hero/con-man persona he first developed in Maverick, the offbeat western TV series that shot him to stardom in the late 1950s.
James Garner was born James Scott Bumgarner in Norman, Oklahoma, to Mildred Scott (Meek) and Weldon Warren Bumgarner, a carpet layer. He dropped out of high school at 16 to join the Merchant Marines. He worked in a variety of jobs and received 2 Purple Hearts when he was wounded twice during the Korean War. He had his first chance to act when a friend got him a non-speaking role in the Broadway stage play "The Caine Mutiny Court Martial (1954)". Part of his work was to read lines to the lead actors and he began to learn the craft of acting. This play led to small television roles, television commercials and eventually a contract with Warner Brothers. Director David Butler saw something in Garner and gave him all the attention he needed when he appeared in The Girl He Left Behind (1956). After co-starring in a handful of films during 1956-57, Warner Brothers gave Garner a co-starring role in the the western series Maverick (1957). Originally planned to alternate between Bart Maverick (Jack Kelly) and Bret Maverick (Garner), the show quickly turned into the Bret Maverick Show. As Maverick, Garner was cool, good-natured, likable and always ready to use his wits to get him in or out of trouble. The series was highly successful, and Garner continued in it into 1960 when he left the series in a dispute over money.
In the early 1960s Garner returned to films, often playing the same type of character he had played on "Maverick". His successful films included The Thrill of It All (1963), Move Over, Darling (1963), The Great Escape (1963) and The Americanization of Emily (1964). After that, his career wandered and when he appeared in the automobile racing movie Grand Prix (1966), he got the bug to race professionally. Soon, this ambition turned to supporting a racing team, not unlike what Paul Newman would do in later years.
Garner found great success in the western comedy Support Your Local Sheriff! (1969). He tried to repeat his success with a sequel, Support Your Local Gunfighter (1971), but it wasn't up to the standards of the first one. After 11 years off the small screen, Garner returned to television in a role not unlike that in Support Your Local Sheriff! (1969). The show was Nichols (1971) and he played the sheriff who would try to solve all problems with his wits and without gun play. When the show was canceled, Garner took the news by having Nichols shot dead, never to return in a sequel. In 1974 he got the role for which he will probably be best remembered, as wry private eye Jim Rockford in the classic The Rockford Files (1974). This became his second major television hit, with Noah Beery Jr. and Stuart Margolin, and in 1977 he won an Emmy for his portrayal. However, a combination of injuries and the discovery that Universal Pictures' "creative bookkeeping" would not give him any of the huge profits the show generated soon soured him and the show ended in 1980. In the 1980s Garner appeared in few movies, but the ones he did make were darker than the likable Garner of old. These included Tank (1984) and Murphy's Romance (1985). For the latter, he was nominated for both the Academy Award and a Golden Globe. Returning to the western mode, he co-starred with the young Bruce Willis in Sunset (1988), a mythical story of Wyatt Earp, Tom Mix and 1920s Hollywood.
In the 1990s Garner received rave reviews for his role in the acclaimed television movie about corporate greed, Barbarians at the Gate (1993). After that he appeared in the theatrical remake of his old television series, Maverick (1994), opposite Mel Gibson. Most of his appearances after that were in numerous TV movies based upon The Rockford Files (1974). His most recent films were My Fellow Americans (1996) and Space Cowboys (2000) .2566 points- Actress
- Director
- Writer
Enigmatic, dark-haired foreign import Alida Valli was dubbed "The Next Garbo" but didn't live up to postwar expectations despite her cool, patrician beauty, remote allure and significant talent. Born in Pola, Italy (now Croatia), on May 3, 1921, the daughter of a Tridentine journalist and professor and an Istrian homemaker, she studied dramatics as a teen at the Motion Picture Academy of Rome and Centro Sperimentale di Cinematografia before snaring bit roles in such films as Il cappello a tre punte (1935) ["The Three-Cornered Hat"] and I due sergenti (1936) ["The Two Sergeants"]. She made a name for herself in Italy during WWII playing the title role in Manon Lescaut (1940), won a Venice Film Festival award for Piccolo mondo antico (1941) ["Little Old World"] and was a critical sensation in We the Living (1942) ["We the Living"]. She briefly abandoned her career, however, in 1943, refusing to appear in what she considered fascist propaganda, and was forced into hiding. The next year she married surrealist painter/pianist/composer Oscar De Mejo. They had two children, and one of them, Carlo De Mejo, became an actor. She divorced in 1955, then she came back to Italy,
Following her potent, award-winning work in the title role of Eugenie Grandet (1946), she was discovered and contracted by David O. Selznick to play the murder suspect Maddalena Paradine in Alfred Hitchcock's The Paradine Case (1947). She was billed during her Hollywood years simply as "Valli," and Selznick also gave her top femme female billing in Carol Reed's classic film noir The Third Man (1949), but for every successful film--such as the ones previously mentioned--she experienced such failures as The Miracle of the Bells (1948), and audiences stayed away. In 1951 she bid farewell to Hollywood and returned to her beloved Italy. In Europe again, she was sought after by the best directors. Her countess in Luchino Visconti's Senso (1954) was widely heralded, and she moved easily from ingénue to vivid character roles. Later standout films encompassed costume dramas as well as shockers and had her playing everything from baronesses to grandmothers in such films as Eyes Without a Face (1960) ["Eyes Without a Face"], Le gigolo (1960), Oedipus Rex (1967) ["Oedipus Rex"], The Big Scare (1974), 1900 (1976), Suspiria (1977), Luna (1979), Inferno (1980), Aspern (1982), A Month by the Lake (1995) and, her most recent, Angel of Death (2001).2538 points- Actor
- Additional Crew
One of England's most successful and enduring character actors, with a prolific screen career on television and in films, Robert Hardy was acclaimed for his versatility and the depth of his performances.
Born in Cheltenham in 1925, he studied at Oxford University and, in 1949, he joined the Shakespeare Memorial Theatre at Stratford-upon-Avon. Television viewers most fondly remember him as the overbearing Siegfried Farnon in All Creatures Great and Small (1978) but his most critically acclaimed performance was as the title character of Winston Churchill: The Wilderness Years (1981). His portrayal of Britain's wartime leader was so accurately observed that, in the following years, he was called on to reprise the role in such productions as The Woman He Loved (1988) and War and Remembrance (1988).
Unlike some British character actors, Hardy was not a Hollywood name and his work in films was therefore restricted to appearances in predominantly British-based productions such as The Spy Who Came in from the Cold (1965), Frankenstein (1994) and Sense and Sensibility (1995). However, in the 21st century, Hardy came to the attention of a whole new generation for his performances in the hugely successful Harry Potter films, while also continuing to make regular appearances in British television series. His co-star from All Creatures Great and Small (1978), Peter Davison, quite simply described Hardy as an "extraordinary" actor who would "never do the same thing twice" when he was acting with him. He was awarded the CBE for services to acting. He died in August 2017.2535 points- Actor
- Additional Crew
- Soundtrack
WWII veteran, dance instructor and diversely talented stage & screen actor were all inclusions on the resume of this perpetually busy US actor who didn't get in front of the cameras until around the time of his fortieth birthday. The stockily built Charles Durning was one of Hollywood's most dependable and sought after supporting actors.
Durning was born in Highland Falls, New York, to Louise Marie (Leonard), a laundress, and James Gerald Durning. His father was an Irish immigrant and his mother was of Irish descent. Durning first got his start in guest appearances in early 1960's TV shows. He scored minor roles over the next decade until he really got noticed by film fans as the sneering, corrupt cop "Lt. Snyder" hassling street grifter 'Robert Redford' in the multi award winning mega-hit The Sting (1973). Durning was equally entertaining in the Billy Wilder production of The Front Page (1974), he supported screen tough guy Charles Bronson in the suspenseful western Breakheart Pass (1975) and featured as "Spermwhale Whalen" in the story of unorthodox police behavior in The Choirboys (1977).
The versatile Durning is equally adept at comedic roles and demonstrated his skills as "Doc Hopper" in The Muppet Movie (1979), a feisty football coach in North Dallas Forty (1979), a highly strung police officer berating maverick cop Burt Reynolds in Sharky's Machine (1981), and a light footed, dancing Governor (alongside Burt Reynolds once more) in The Best Little Whorehouse in Texas (1982). Durning continued a regular on screen association with Burt Reynolds appearing in several more feature films together and as "Dr. Harlan Elldridge" in the highly popular TV series Evening Shade (1990). On par with his multitude of feature film roles, Durning has always been in high demand on television and has guest starred in Everybody Loves Raymond (1996), Monk (2002) and Rescue Me (2004). Plus, he has appeared in the role of "Santa Claus" in five different television movies.2534 points- Actor
- Director
- Writer
Vladimir Basov was a notable Soviet actor and director best known for the leading role as Bruno in Shchit i mech (1968), which he also directed, and his numerous supporting roles, such as Floor Polisher in Ya shagayu po Moskve (1964) (aka.. Walking the Streets of Moscow (1963), among other works.
He was born Vladimir Pavlovich Basov on September 17, 1923, in a small town of Urazov, Kursk province, central Russia. His father died in a tragic accident, and young Basov was raised by a single mother. During the Second World War he was wounded in the battlefield fighting the Nazis, and was decorated for his courage. From 1947 - 1951 he studied acting and directing under Mikhail Romm and Sergei Yutkevich at Soviet State Insitute of Cinema (VGIK), graduating in 1952 as film director. From 1952 to 1987 he was a film director at Mosfilm Studios in Moscow.
Basov shot to fame with the leading role as Bruno in popular Soviet war drama Shchit i mech (1968) which he also directed. At that time Basov was among the most popular Soviet filmmakers. He directed such TV movies as Opasnyy povorot (1972), and the popular series Dni Turbinykh (1976) adapted after the eponymous book by Mikhail A. Bulgakov. However, with his success came the attendant pressures, and he suffered from chronic alcoholism, depression, and had several strokes and heart attacks.
Vladimir Basov was designated People's Actor of USSR (1983), and was awarded the State Prize of Russia (1982). He died of a second heart attack on September 17, 1987, in his Moscow home, and was laid to rest in Moscow, Russia.2521 points- 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. .2519 points- Actor
- Soundtrack
Halvar Björk was born on 22 September 1928 in Borgvattnet, Jämtlands län, Sweden. He was an actor, known for Autumn Sonata (1978), Badarna (1968) and Ödets man (1960). He died on 12 November 2000 in Huddinge, Stockholms län, Sweden.2498 points- Norman Bird was born on 30 October 1924 in Coalville, Leicestershire, England, UK. He was an actor, known for The Lord of the Rings (1978), The League of Gentlemen (1960) and Maniac (1963). He was married to Nona Blair. He died on 22 April 2005 in Wolverhampton, West Midlands, England, UK.2483 points
- Actor
- Music Department
- Soundtrack
Anatoliy Dmitrievich Papanov was born on October 31, 1922, in Vyasma, Smolensk region, USSR. His father, named Dmitri Filippovich Papanov, was a Russian industrial worker. His mother, named Elena Bronislavovna Roskovskaya, was of Polish ancestry. Young Papanov moved to Moscow with his parents in 1929. After graduation from a secondary school in 1939, he worked as a metal worker at the 2nd Moscow Ball-bearing Factory. There Papanov was an amateur actor at the Worker's Club Theatre-studio named "Kauchuk".
In 1941 Papanov was drafted in the Red Army and served as an Artillery Sergeant. He was severely wounded in his legs in 1942, and spent six months in hospitals. At age 21, he became permanently disabled and used a cane for the rest of his life. Papanov was admitted to the acting class of the Moscow Theatre Institute (GITIS), from which he graduated in 1946. While a student, Papanov married his classmate actress Nadezhda Karataeva. From 1946-1948 he worked on stage at the Klaipeda Drama Theatre in Latvia. In 1948 Papanov was invited to the Moscow Theatre of Satire by director Andrei Goncharov. He became permanent member of the troupe and worked on stage for almost 40 years. His regular stage partners were Andrey Mironov, Tatyana Pelttser, Spartak Mishulin, Aleksandr Shirvindt, Mikhail Derzhavin, Vladimir Kozel, Olga Aroseva, Georgi Menglet, and other renown Russian actors.
Papanov made his film debut as an extra in 'Lenin v Oktyabre' (1937) by director Mikhail Romm. He played supporting roles in comedies by director Eldar Ryazanov - 'Chelovek niotkuda' (1961), where his partner was Sergey Yurskiy, and in 'Beregis avtomobilya' (1966), where his partners were Innokentiy Smoktunovskiy, Oleg Efremov, Andrey Mironov, Georgi Zhzhyonov, Donatas Banionis, Evgeniy Evstigneev, and others. Papanov became really famous after his impressive work in the role of General Sepilin in 'Zhivye i myortvye' (1963), for which he was awarded the Brothers Vasilyev State Prize in 1966.
Anatoli Papanov is best known for his roles in the comedies of director Leonid Gaidai. His satirical character - a gangster chief Lyolik in 'Brilliantovaya ruka' (The Diamond Arm, 1968) became one of the most popular characters in the Russian cinema. Papanov made an excellent acting ensemble with his film partners Andrey Mironov, Yuriy Nikulin, Nonna Mordyukova, Nina Grebeshkova, Svetlana Svetlichnaya, Leonid Kanevskiy, and other remarkable actors. 'Brilliantovaya ruka' was the all-time box-office leader with over 76,000,000 admissions in theaters of the Soviet Union. In a 1995 national poll in Russia, 'Brilliantovaya ruka' was voted the best Russian comedy ever.
Anatoli Papanov was awarded the Russian State Prize of Brothers Vasilyev (1966). He was designated People's Actor of the USSR (1973) and was awarded the USSR State Prize (1989, posthumously). Papanov died of a heart attack on August 7, 1987, at his Moscow apartment, a few days before the tragic collapse of his friend and partner Andrey Mironov. Anatoli Papanov's death caused a considerable mourning among his fans in the Soviet Union, he was laid to rest in the Novodevichy Cemetery in Moscow, Russia.2479 points