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The Academy Award-nominated film actor Chester Morris, who will forever be associated with the character Boston Blackie, was born John Chester Brooks Morris on February 16 1901 in New York City, the son of actor William Morris and comedienne Etta Hawkins.
Chester Morris made his Broadway debut as a teenager in 1918 in the play "The Copperhead," in support of the great Lionel Barrymore, who coincidentally would play Boston Blackie in a silent picture (The Face in the Fog (1922)) a generation before Morris would make that role his own. A year earlier, Chester Morris had made his movie debut in Van Dyke Brooke's An Amateur Orphan (1917), but he didn't really become a movie actor until the sound era. Instead, Morris made his acting bones on the boards, appearing on Broadway in the plays "Thunder" and "The Mountain Man" in 1919. He returned to the Great White Way in 1922 in the comedy "The Exciters" following it up with the comedy-drama "Extra" in 1923. Now established, Chester Morris began billing himself as "the youngest leading man in the country."
He appeared without credit in 'Cecil B. DeMille's The Road to Yesterday (1925), though his dark, good-looks and chiseled jaw made him a natural for movie stardom, it wasn't until the transition of the movies from silent pictures to the talkies that he became a movie actor. He was one of the first actors to be nominated for an Academy Award when in 1930 (the second year of the as-yet non-nicknamed Oscars) he was recognized with a nod as Best Actor for Alibi (1929), his first talking picture. But it was his appearance in The Big House (1930), the film for which he is best known (other than his portrayal of Boston Blackie in the eponymous detective series of the 1940s) that he broke through to stardom.
From 1930 through the middle of the decade, he was a star with good roles in first-rate pictures, usually assaying a tough guy. However, his star dimmed and by the end of the decade he was appearing in B-pictures, but beginning in 1941, the Boston Blackie series at Columbia Pictures revived his career. In all, he appeared in 14 pictures as the detective. He later segued to TV work in the 1950s and '60s, appearing in the occasional film such as his last, The Great White Hope (1970), which meant he had been a working movie actor for seven decades.
Although he was afflicted with cancer, it is unclear whether he took his own life as he was apparently in good spirits and left no note September 11, 1970.- Actress
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Ginger Rogers was born Virginia Katherine McMath in Independence, Missouri on July 16, 1911, the daughter of Lela E. Rogers (née Lela Emogene Owens) and William Eddins McMath. Her mother went to Independence to have Ginger away from her husband. She had a baby earlier in their marriage and he allowed the doctor to use forceps and the baby died. She was kidnapped by her father several times until her mother took him to court. Ginger's mother left her child in the care of her parents while she went in search of a job as a scriptwriter in Hollywood and later to New York City. Mrs. McMath found herself with an income good enough to where she could send for Ginger. Lelee became a Marine in 1918 and was in the publicity department and Ginger went back to her grandparents in Missouri. During this time her mother met John Rogers. After leaving the Marines they married in May, 1920 in Liberty, Missouri. He was transferred to Dallas and Ginger (who treated him as a father) went too. Ginger won a Charleston contest in 1925 (age 14) and a 4-week contract on the Interstate circuit. She also appeared in vaudeville acts which she did until she was 17 with her mother by her side to guide her. Now she had discovered true acting.
She married in March 1929, and after several months realized she had made a mistake. She acquired an agent and she did several short films. She went to New York where she appeared in the Broadway production of "Top Speed" which debuted Christmas Day, 1929. Her first film was in 1929 in A Night in a Dormitory (1930). It was a bit part, but it was a start. Later that year, Ginger appeared, briefly, in two more films, A Day of a Man of Affairs (1929) and Campus Sweethearts (1930). For awhile she did both movies and theatre. The following year she began to get better parts in films such as Office Blues (1930) and The Tip-Off (1931). But the movie that enamored her to the public was Gold Diggers of 1933 (1933). She did not have top billing, but her beauty and voice were enough to have the public want more. One song she popularized in the film was the now famous, "We're in the Money". Also in 1933, she was in 42nd Street (1933). She suggested using a monocle, and this also set her apart. In 1934, she starred with Dick Powell in Twenty Million Sweethearts (1934). It was a well-received film about the popularity of radio.
Ginger's real stardom occurred when she was teamed with Fred Astaire where they were one of the best cinematic couples ever to hit the silver screen. This is where she achieved real stardom. They were first paired in 1933's Flying Down to Rio (1933) and later in 1935's Roberta (1935) and Top Hat (1935). Ginger also appeared in some very good comedies such as Bachelor Mother (1939) and Fifth Avenue Girl (1939), both in 1939. Also that year, she appeared with Astaire in The Story of Vernon and Irene Castle (1939). The film made money but was not anywhere successful as they had hoped. After that, studio executives at RKO wanted Ginger to strike out on her own.
She made several dramatic pictures, but it was 1940's Kitty Foyle (1940) that allowed her to shine. Playing a young lady from the wrong side of the tracks, she played the lead role well, so well in fact, that she won an Academy Award for her portrayal. Ginger followed that project with the delightful comedy, Tom, Dick and Harry (1941) the following year. It's a story where she has to choose which of three men she wants to marry. Through the rest of the 1940s and early 1950s she continued to make movies but not near the caliber before World War II. After Oh, Men! Oh, Women! (1957) in 1957, Ginger didn't appear on the silver screen for seven years. By 1965, she had appeared for the last time in Harlow (1965). Afterward, she appeared on Broadway and other stage plays traveling in Europe, the U.S., and Canada. After 1984, she retired and wrote an autobiography in 1991 entitled, "Ginger, My Story".
On April 25, 1995, Ginger died of natural causes in Rancho Mirage, California. She was 83.- Actress
- Soundtrack
Priscilla Lane attended the Eagin School of Dramatic Arts in New York before she began touring with her sisters in the Fred Waring and the Pennsylvanians Dance Band. She was a popular singer with her sisters and, after 5 years, she was signed to a Hollywood contract with Warner Brothers in 1937. Her first film was Varsity Show (1937) where she had the hard task of portraying a singer with the Fred Waring Band. Priscilla was to play the nice girl against the temperamental star played by her sister Rosemary Lane. Over the years, Priscilla would play an assortment of girlfriends, daughters and fiancees. She would team with her two sisters, Rosemary Lane and Lola Lane, to make a series of dramas beginning with the film Four Daughters (1938). That film would be the one that made John Garfield a star. In most of her films, all Priscilla had to do was to look attractive and give a good supporting performance. Priscilla would also co-star with Wayne Morris in three 1938 releases. In The Roaring Twenties (1939), she would play the girlfriend of James Cagney. In Arsenic and Old Lace (1944), which was released 3 years after it was filmed, she would play the fiancee of Cary Grant. When Alfred Hitchcock was unable to get Barbara Stanwyck, he cast Priscilla in Saboteur (1942) where she was on the run with the hero. By that time, her movie career was almost finished and she would appear in just a couple of films over the next five years before retiring in 1948.- Etchika Choureau was born on 12 November 1929 in Paris, France. She was an actress, known for Darby's Rangers (1958), Lafayette Escadrille (1958) and The Vanquished (1953). She was married to Philippe Rheims and Max Choureau. She died on 24 January 2022 in Rabat, Morocco.
- Actress
- Additional Crew
Chicago-born Darlene Tompkins came from a "show biz family", with relatives who worked in vaudeville and in plays (Tompkins' three-years-younger aunt is actress Beverly Washburn). A beauty contest victory opened some Hollywood doors for Tompkins, who began appearing in commercials, co-starred in Beyond the Time Barrier (1960) (at age 18) and appeared in TV series and additional features, including Elvis Presley's Blue Hawaii (1961). Marriage and motherhood derailed her screen career, but she managed to return in the 1970s to work as an extra, a stand-in and stunt-woman, occasionally stunt-doubling on Charlie's Angels (1976) (for Cheryl Ladd, and in other TV series and movies.- Actress
- Soundtrack
Helen George was born on 19 June 1984 in Birmingham,West Midlands , England, UK. She is an actress, known for The Three Musketeers (2011), Call the Midwife (2012) and The Monster (2015). She was previously married to Oliver Boot.- Actress
- Producer
- Director
Born in Poland to accomplished thespian parents, Grazyna Dylag and Aleksander Mikolajczak, Izabella Miko could dance before she could walk. She began to pursue her dream career as a ballerina as soon as the opportunity was available to her at the age of 10. Izabella was accepted at the National Ballet School in Warsaw, though her teachers were concerned about what seemed to be some flexibility limitations of her body. At the age of 15, she was recruited to go to New York on full scholarship and study at the School of American Ballet. However, her body could no longer withstand the rigors of a seven-day a week ballet-training schedule, and in 1997 she suffered from a series of injuries to her vertebrae, knee and ankle injuries, ending her career as a ballet dancer.
She found herself 17 years old and wondering what career she would ever find that would fulfill her the same way dance did. While back in Warsaw and recovering, a casting director who was working with Izabella's parents asked if she would play a part in a TV movie, "Lithuania You're My Motherland". She accepted, not knowing where else to turn. Having been bitten by the acting bug, Miko was headed back to America shortly before her 18th birthday. She immediately began training at The Lee Strasberg Theatre Institute and laying the groundwork for a successful career as an actor.
She went to Los Angeles just after she turned 18, and a series of fortuitous event resulted in her landing the role in Jerry Bruckheimer's Coyote Ugly (2000) playing "Cammie". This role put her on the map in Hollywood, leading to a slew of magazine covers and billboards. She followed "Coyote Ugly" with a leading role in J.S. Cardone's The Forsaken (2001) and Minimal Knowledge (2002). She has also appeared in The Shore (2006), starring alongside Lesley Ann Warren and Ben Gazzara. Miko than starred alongside actors Derek Jacobi and Michael Lonsdale in Bye Bye Blackbird (2005). Her portrayal of Alice, a circus trapeze artist in the early 1900s, was the perfect combination of Izabella's most innate talents. She prepared for this role with a rigorous three-month training schedule on both the flying and static trapeze. Utilizing her dance and trapeze skills, along with rapidly learned tightrope walking, she secured a part time role of Raia, a member of the "Circus of Crime" circus troop in the 2011 NBC series The Cape (2011).- Larry Olsen was born on 16 May 1938 in Marshalltown, Iowa, USA. He was an actor, known for Casanova Brown (1944), Curley (1947) and Room for One More (1952). He died on 24 November 2015.
- Actress
- Soundtrack
Anna Maria Pierangeli was born June 19, 1932, in Cagliari, Sardinia, Italy. Anna and her twin sister, Marisa Pavan, both had their eyes on becoming film stars, since that was one of the big Italian pastimes. Anna adopted her surname and split it in half, and it was as Pier Angeli that she would find fame. Her first role was an uncredited part in 1948's The Million Dollar Nickel (1952), an Italian production. Pier was 16 at the time and it was to be the first of many roles for this beautiful woman. The film was largely forgettable but it was a start. The following year she played in another Italian production, Tomorrow Is Too Late (1950). Again it was a very small role, and she was not seen on the screen again until 1951. Between 1949 and 1951 she appeared in stage productions and found work in menial jobs. When she did return it was in the film The Light Touch (1951) as Anna Vasarri. Later that year she won the title role in Teresa (1951). However, she again hit a drought with only one film in 1952 and two in 1953. The next year things began to pick up, however, with Hollywood beckoning. After the Italian Miss Nitouche (1954) she caught the eyes of Hollywood moguls, who cast her in Flame and the Flesh (1954) and The Silver Chalice (1954). Now she divided her time between Italy and the US making movies. She married Vic Damone in 1954, a union that lasted only four years and produced one son.
No film offers came in 1955, but in 1956 Pier landed the role of Norma Graziano (wife of fighter Rocky Graziano) in Somebody Up There Likes Me (1956) opposite Paul Newman. The film was well received at the box office and she had hopes that things were going to pick up again. She played Ynez in Port Afrique (1956) later that year and then another drought ensued. After The Vintage (1957), Merry Andrew (1958) and SOS Pacific (1959), she made three more films in 1960. Then once again 1961 saw no appearances. In 1962 Pier played Ildith in Sodom and Gomorrah (1962) and later that year played in a French production entitled White Slave Ship (1961). After the Italian production of Shadow of Evil (1964) she returned in the hit European-American co-production Battle of the Bulge (1965).
After a handful of films between 1966 and 1970, Pier realized her dreams of super-stardom were not to be. She had divorced her second husband (Armando Trovajoli) in 1969 and made her final appearance on the screen in 1971 in the low-budget sci-fi opus Octaman (1971). On September 10th of that year Pier was found dead of a barbiturate overdose in her Beverly Hills home. She was only 39 years old.- Actress
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French ballet dancer Leslie Caron was discovered by the legendary MGM star Gene Kelly during his search for a co-star in one of the finest musicals ever filmed, the Oscar-winning An American in Paris (1951), which was inspired by and based on the music of George Gershwin. Leslie's gamine looks and pixie-like appeal would be ideal for Cinderella-type rags-to-riches stories, and Hollywood made fine use of it. Combined with her fluid dancing skills, she became one of the top foreign musical artists of the 1950s, while her triple-threat talents as a singer, dancer and actress sustained her long after musical film's "Golden Age" had passed.
Leslie Claire Margaret Caron was born in France on July 1, 1931. Her father, Claude Caron, was a French chemist, and her American-born mother, Margaret Petit, had been a ballet dancer back in the States during the 1920s. Leslie herself began taking dance lessons at age 11. She was on holidays at her grandparents' estate near Grasse when the Allies landed on the 15th of August 1944. After the German rendition, she and her family went to Paris to live. There she attended the Convent of the Assumption and started ballet training. While studying at the National Conservatory of Dance, she appeared at age 14 in "The Pearl Diver," a show for children where she danced and played a little boy. At age 16, she was hired by the renowned Roland Petit to join the Ballet des Champs-Elysees, where she was immediately given solo parts.
Leslie's talent and reputation as a dancer had already been recognized when on opening night of Petit's 1948 ballet "La Rencontre," which was based on the theme of Orpheus and featured the widely-acclaimed dancer 'Jean Babilee', she was seen by then-married Hollywood couple Gene Kelly and Betsy Blair. Leslie did not meet the famed pair at the end of the show that night as the 17-year-old went home dutifully right after her performance, but one year later Kelly remembered Leslie's performance when he returned to Paris in search for a partner for his upcoming movie musical An American in Paris (1951). The rest is history.
Kelly and newcomer Caron's touching performances and elegant and exuberant footwork (especially in the "Our Love Is Here to Stay" and "Embraceable You" numbers, as well as the dazzling 17-minute ballet to the title song) had critics and audiences simply enthralled. The film, directed by Vincente Minnelli, won a total of six Oscar awards, including "Best Picture," plus a Golden Globe for "Best Picture in a Musical or Comedy". Leslie was put under a seven-year MGM contract where her luminous skills would also be featured in non-musical showcases.
While Leslie's dramatic mettle was tested as a New Orleans nightclub entertainer opposite Ralph Meeker's boxer in Glory Alley (1952) and as a French governess in The Story of Three Loves (1953), it was as the child-like urchin who falls for a cruel carnival puppeteer (Mel Ferrer) in Lili (1953) that finally lifted Leslie to Academy Award attention. The film, which went on to inspire the Tony-winning Broadway musical "Carnival," earned Leslie not only an Oscar nomination, but the British Film Award for "Best Actress" as well. At her waif-like best once again in the musical Daddy Long Legs (1955), Leslie was paired this time with the "other" MGM male dancing legend Fred Astaire. The story, which unfolded in an appealing Henry Higgins/Eliza Dolittle style, was partly choreographed by Roland Petit, who founded the Ballet des Champs-Elysees, Leslie's former dance company.
While the actress gave poignant life to the ugly-duckling-turned-swan tale, The Glass Slipper (1955), choreographed by Petit and co-starring Britisher Michael Wilding as Prince Charming, Leslie also played a ballerina in love with WWII soldier John Kerr in Gaby (1956), a lukewarm remake of the superior Waterloo Bridge (1940). It took another plush musical classic, Gigi (1958), to remind audiences once again of Leslie's unique, international appeal. Audrey Hepburn, who had played the title part on Broadway, was keen on doing the film, but producer Arthur Freed wrote the part expressly for Leslie. It was also Freed who called up Fred Astaire to suggest her as his leading lady in Gigi (1958). Leslie tried the role out on the London stage prior to doing the film version. The musical wound up receiving nine Academy Awards, including "Best Picture," and Leslie herself was nominated for a Golden Globe as "Best Musical/Comedy Actress".
A few more forgettable film roles came and went until she returned triumphantly in a non-musical adaptation of a highly successful 1954 Broadway musical. The film version of Fanny (1961) was more adult in nature for Leslie and was blessed with gorgeous cinematography, a touching script and the continental flavor of veterans, Maurice Chevalier, Charles Boyer, and Horst Buchholz. At the movie's centerpiece is a child-like Leslie (at age 30!) who is mesmerizing as a young girl with child who is deserted by her sailor/boyfriend. Even more adult in scope was the shattering British drama The L-Shaped Room (1962) wherein the actress plays a pregnant French refugee who is abandoned yet again. She earned her a second British Academy Award and a second Oscar nomination for this superb performance.
On stage in London with the Royal Shakespeare Company, Leslie earned applause in another Audrey Hepburn Broadway vehicle, "Ondine," in 1961. While the mid-1960s and 1970s saw her film career take a Hollywood detour into breezy comedy with a number of lightweight fare opposite the likes of Rock Hudson, Cary Grant and Warren Beatty, she managed to shine with a complex working class mother role in the remarkable Italian film Il padre di famiglia (1967) starring Nino Manfredi and Ugo Tognazzi, and was spotted in the popular crossover film Valentino (1977) starring iconic Russian ballet star Rudolf Nureyev.
In the 1980s, Leslie appeared in stage productions of "Can-Can", "On Your Toes" and "One for the Tango". She also was invited and accepted to appear on American TV. At the age of 75, the actress won her first Emmy Award with her very moving portrayal of an elderly woman and closeted rape victim in a 2006 episode of Law & Order: Special Victims Unit (1999). More recent filming have included Damage (1992) by Louis Malle, Chocolat (2000) by Lasse Hallström, and the Merchant Ivory romantic comedy/drama The Divorce (2003).
Leslie's private life has been more turbulent than expected. She is divorced from the late meat packing heir and musician Geordie Hormel; from avant-garde Royal Shakespeare director Peter Hall, by whom she has two children, Christopher and Jennifer (both of whom have careers in the entertainment field); and from her Chandler (1971) movie producer Michael Laughlin.
One of the few MGM post-musical stars to enjoy a long, lasting and formidable dramatic career, Leslie Caron is still continuing today though on a much more limited basis. In 2008, the actress published her memoirs, "Thank Heaven," later translated to French as "Une Francaise à Hollywood". In 2010, she triumphed on the Chatelet Theater stage in Paris with her portrayal of Madame Armfeldt in Stephen Sondheim's "A Little Night Music. More recently the still mesmerizing octogenarian had a recurring role as a countess in the British TV series The Durrells (2016). Over the years, she has received a number of "Life Achievement" awards for her contributions to both film and dance.- Actress
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Moira was born the daughter of Harold Charles King, a civil engineer, in Dunfermline, Scotland. She was educated at Dunfermline High School, Ndola in Zambia (formerly Northern Rhodesia) and Bearsden Academy, Scotland. She received her professional training at the Mayfair School and The Nicholas Legat Studio. She made her debut in the International Ballet with 1941 and then danced at Sadler's Wells in 1942. From 1942 to 1952 she danced all the major classic roles and a full repertoire of revivals and new ballets. Her first role as prima ballerina was "Sleeping Beauty" at the Royal Opera House, Covent Garden in 1946 which was followed by 'Coppelia' and. 'Swan Lake'. She toured the United States with the Sadler's Wells Ballet in 1949 and in 1950/51. She toured as Sally Bowles in "I am a Camera" in 1955 and appeared at the Bristol Old Vic as "Major Barbara" in 1956. Although these performances were the start of her secondary career as an actress, she continued her primary career as a ballerina. She has appeared on TV as a ballerina and as an actress- Actor
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Although his bulgy-eyed brand of humor was once popular and considered funny, "second banana" character actor Mantan Moreland, who maintained a steadfast career playing cocky but jittery characters in late 1930s and early 1940s comedy, would later be ostracized for it. The talented funnyman, who gained his strongest recognition in a long string of comedy thrillers, would eventually find himself on the unemployment line.
Born to a Dixieland bandleader just after the turn of the century in Louisiana on September 3, 1902, Mantan developed the itch to perform and often times ran away from home at age 14 to join circuses, minstrel shows and medicine shows. From these escapades, he sharpened his comic skills and developed routines and acts that eventually made a mark on the vaudeville stage, or what was then called the "chitlin' circuit." A solo performer by nature, he often teamed up with other famous comics (such as Ben Carter) to keep working, and became a deft performer of "indefinite talk" routines, wherein two quicksilver comics continually topped each other in mid-sentence, as if reading each other's mind (i.e., "Say, did you see...?" "Saw him just yesterday...did't look so good"). In 1927, he found work as a comedian in "Connie's Inn Frolics" in Harlem and worked steadily in the musical revue "Blackbirds of 1928" for ,
Mantan's focus and interest gradually shifted toward film, where he would appear in servile bits (butlers, shoeshine men, porters, chauffeurs, janitors, waiters, elevator operators). He made his film debut paired with one of his vaudeville partners, F.E. Miller (aka Flournoy Miller), in the one-reel short That's the Spirit (1933) as frightened night watchmen in a haunted pawn shop. His talent for making people laugh was not to be overlooked and he soon earned featured status in such Harlem-styled western parodies as Harlem on the Prairie (1937) and Two-Gun Man from Harlem (1938).
Mantan managed to find a niche for himself in mainstream comedies of the late 1930's and 1940's playing the pop-eyed, superstitious, highly perceptive manservant running away from impending doom -- Millionaire Playboy (1940), Ellery Queen's Penthouse Mystery (1941), Cracked Nuts (1941), Revenge of the Zombies (1943) and the serial Mystery of the River Boat (1944). He had more prominence appearing as a corner ring man for a boxing story, played by real-life boxing champ Joe Louis and providing comedy relief along with Shemp Howard in the mystery horror opus The Strange Case of Doctor Rx (1942). He was occasionally given stereotyped ne-er-do-well leads in such vehicles as One Dark Night (1939) and Up Jumped the Devil (1941) and the musical short Tall, Tan, and Terrific (1946). He later starred in two self-named vehicles for Lucky Productions -- Mantan Messes Up (1946) and Mantan Runs for Mayor (1946).
The comic actor also teamed up (as a character named "Jefferson") with a young, pint-sized white actor Frankie Darro in seven adventure comedies for Monogram Pictures -- Irish Luck (1939), Chasing Trouble (1940), On the Spot (1940), Laughing at Danger (1940), Up in the Air (1940), You're Out of Luck (1941) and The Gang's All Here (1941). Monogram later utilized his talents as chauffeur Birmingham Brown as comedy relief in 15 of the "Charlie Chan" mystery whoddunits beginning opposite Charlie Chan #2, Sidney Toler in Charlie Chan in the Secret Service (1944), and ending opposite Charlie Chan #3 Episode #1.51 (2004) in The Sky Dragon (1949).
Although haunted mansions were an ideal place for setting off his stereotyped character, Mantan would be haunted in a different way by this Hollywood success in years to follow. By the 1950s, racial attitudes began to change and, with the rise of the civil rights movement in the mid 1960's, what was once considered hilarious was now interpreted as offensive. Mantan and others, such as Stepin Fetchit, were unfairly ostracized and ridiculed by Hollywood for their past negative portrayals and lost work.
In the late 1960s he managed a modest resurgence on TV and in commercials and occasional films, allowing him to work again with such comic heavyweights as Bill Cosby, Godfrey Cambridge and director Carl Reiner. He appeared in bit parts on such shows as "Julia," "The Bill Cosby Show," "Adam-12" and "Love, American Style." His later could be glimpsed in such films as The Patsy (1964), Enter Laughing (1967), the cult film Spider Baby or, the Maddest Story Ever Told (1967) and Watermelon Man (1970). His final movie was a bit part as an old man in The Young Nurses (1973).
His return was all too brief, however, for Mantan, long suffering from ill health, died of a cerebral hemorrhage on September 28, 1973, just as he was starting to settle into working again. Today, audiences tend to be kinder and more understanding of Moreland, remembering him as a highly talented comic who, in the only way he knew, broke major barriers and opened the doors for others black actors to follow.- Actor
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As they say, like father, like son. Cowboy hero Tim Holt avidly followed in the boots of his famous character-actor dad, the granite-jawed Jack Holt (b. Charles John Holt), who appeared in hundreds of silents and talkies (many of them westerns) over the years. The two actually appeared together as father and son in the western The Arizona Ranger (1948), and Jack was glimpsed (as a hobo in the Mexican flophouse that Humphrey Bogart, Walter Huston, and Tim were staying in) in the classic The Treasure of the Sierra Madre (1948). Also a part of the acting Holt clan was the beautiful "prairie flower" Jennifer Holt (nee Elizabeth Marshall Holt), Tim's younger sister, who appeared in scores of 1940s oaters. The three, however, never performed together in a single film.
Tim was born Charles John Holt, Jr. in Beverly Hills on February 5, 1918, to Jack and his wife, Margaret Woods, at a time when Jack was just making a dent in silent films. Nicknamed "Tim", he was raised on his father's ranch in Fresno, where he performed outside chores and learned to ride a horse. Tim, in fact, made his debut at age 10 in one of his father's westerns, The Vanishing Pioneer (1928), based on a Zane Grey story. He played Jack's character as a young boy.
The boyishly rugged, athletically inclined Tim attended military school in his teens, excelling in polo. While studying at college, he married his college sweetheart, Virginia Ashcroft, in 1938. At this point he decided to try to put together an acting career. Virginia herself made a very brief foray into acting.
Tim apprenticed at various stock companies before he eased his way back into films with an unbilled part in History Is Made at Night (1937). He then earned strong notices in the classic Barbara Stanwyck tearjerker Stella Dallas (1937) and as Olivia de Havilland's brother in Gold Is Where You Find It (1938). His horseback riding capabilities and fast-drawing technique quickly kicked in with The Law West of Tombstone (1938), and he joined a superb cast in John Ford's classic western Stagecoach (1939) as a by-the-book cavalry lieutenant.
Hardly confined to westerns at this early stage, Tim showed impressive acting abilities in comedy (Fifth Avenue Girl (1939)), adventures (Swiss Family Robinson (1940)), and high drama (Back Street (1941)), all for RKO Pictures. He reached an early peak when Orson Welles cast him against type as the cruel, malicious son George in The Magnificent Ambersons (1942), a role Welles initially contemplated playing himself. By the mid '40s, however, Tim had settled into the western genre. He starred in a series of dusty RKO features partnered with comic Cliff Edwards by his side and also appeared solo elsewhere.
World War II interrupted his thriving career. He was a decorated hero (Distinguished Flying Cross, Victory Medal, and Presidential Unit Citation among his awards) while serving in the Air Corps and was discharged with the rank of second lieutenant. Wounded over Tokyo on the last day of the war, he was also given the Purple Heart. He made an auspicious return to films in the role of Virgil Earp in Ford's My Darling Clementine (1946) and then continued in a somewhat lesser vein with "B"-level oaters. He came to the forefront one more time, co-starring with gold prospecting rivals Humphrey Bogart and Walter Huston in John Huston's masterpiece The Treasure of the Sierra Madre (1948), arguably the high point of Tim's entire film career, which rightfully earned him the best notices he ever received.
Richard Martin became his second sidekick in another popular string of RKO westerns, with Tim repeatedly making the "top ten" ranks of money-making cowboy stars. Appearing almost exclusively for RKO from 1939 on, Tim eventually became disillusioned with the quality of his pictures and decided to abandon films after appearing in RKO's Desert Passage (1952) while still a popular draw. Divorced from his second wife, Alice Harrison, he retired for the most part to his Oklahoma ranch with his third wife, Berdee Stephens, and their three children. He later became a manager for a radio station in Oklahoma City. In 1957 he came out of retirement to head up the cast in the subpar sci-fi horror film The Monster That Challenged the World (1957) and then quickly returned to obscurity.
Little was heard from Tim over the years save a co-starring role in a low-budget hillbilly moonshine extravaganza for exploitation king Herschell Gordon Lewis called This Stuff'll Kill Ya! (1971). He was diagnosed with bone cancer in August of 1972 and passed away rather quickly on February 15, 1973, shortly after his 54th birthday. Buried in Oklahoma, he was posthumously inducted into the Western Performers Hall of Fame in 1991 and was a recipient of the "Golden Boot" award in 1992.- Actor
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Richard Martin began working in films as a receptionist at MGM in the late 1930s. He began appearing in films while under contract to RKO in the early 1940s. Martin created the character of "Chito Jose Gonzalez Bustamonte Rafferty", the Irish-Mexican comic sidekick of cowboy star Tim Holt, in the 1943 film Bombardier (1943). He played the character in a series of 29 films through the early 1950s. Martin married actress Elaine Riley, who co-starred with him in several films. He retired from the screen to work in the insurance business in the early 1950s.