Fantasia 1941 premiere
Wednesday January 29th, Carthay Circle Theatre 6316 San Vicente Boulevard, Los Angeles, CA 90048
List activity
180 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
51 people
- Actress
- Writer
- Additional Crew
Shirley Temple was easily the most popular and famous child star of all time. She got her start in the movies at the age of three and soon progressed to super stardom. Shirley could do it all: act, sing and dance and all at the age of five! Fans loved her as she was bright, bouncy and cheerful in her films and they ultimately bought millions of dollars' worth of products that had her likeness on them. Dolls, phonograph records, mugs, hats, dresses, whatever it was, if it had her picture on there they bought it. Shirley was box-office champion for the consecutive years 1935-36-37-38, beating out such great grown-up stars as Clark Gable, Bing Crosby, Robert Taylor, Gary Cooper and Joan Crawford. By 1939, her popularity declined. Although she starred in some very good movies like Since You Went Away (1944) and the The Bachelor and the Bobby-Soxer (1947), her career was nearing its end. Later, she served as an ambassador to Ghana and Czechoslovakia. It was once guessed that she had more than 50 golden curls on her head.- Actress
Gertrude Amelia Krieger was born on July 15, 1893, in Chicago, Illinois. In 1903, her father, German-born Julius Otto Krieger, relocated the family to Los Angeles, California. Because her parents worked long hours and her father died when she was 15, Gertrude spent much of her childhood caring for her younger brother, Ralph. When Gertrude was 16, she met 21-year-old George Francis Temple; they married in 1910. Their first child, John Stanley Temple (Jack), was born in 1915. Another son, George Francis Temple Jr. (Sonny), followed in 1919. The couple's only daughter, Shirley Jane Temple, was born on April 23, 1928. Gertrude soon noticed that her daughter was born with a remarkable sense of rhythm; at 8 months, she was standing up in her crib and dancing to the popular music that her parents played on the phonograph. Gertrude convinced George that they should enroll Shirley in a local dance school. When Charles Lamont visited her dance class looking for young talent, he noticed 3-year-old Shirley and cast her in two of his short film series, Baby Burlesks and Frolics of Youth. Gertrude read Shirley her lines, sewed her early costumes, and was always with her at the studio. Her perseverance and dedication to her daughter's career got Shirley her first major role in a full-length movie, Stand Up and Cheer! (1934), after which her career took off. As Shirley's success made an international star, Gertrude remained the guiding force and constant presence in her daughter's life.- Actor
George Francis Temple was born in Fairview, Pennsylvania, in May 1888, to Francis Temple, a doctor, and Cynthia Yaeger Temple. Dr. Temple was devoted to his patients, but long hours and house calls in inclement weather soon took their toll, and he died of pneumonia in June 1896, when he was only 39. After his death, Cynthia moved the family to Mercer, Pennsylvania; they relocated again, to Eerie, Pennsylvania, in 1900. But the Temples did not stay long in Eerie, either. Grace, George's older sister, contracted tuberculosis there, and in 1903, the family moved to sunny Los Angeles. After graduating high school, George's friendly, affable personality helped to get him a job as a bank clerk. When he was 21, he met 16-year-old Gertrude Amelia Krieger and was instantly captivated. They married in 1910, and their first child, John Stanley Temple (Jack) was born in January 1915. Another son, George Francis Temple Jr. (Sonny) was born in January 1919. George did not serve in World War I, but many men in his company did, which allowed him to advance to an accountant. Then in 1925, he became a bookkeeper for California Bank, and the family moved from Los Angeles to Santa Monica. The Temples' only daughter, Shirley Jane, was born on April 23, 1928. Family and friends soon agreed that Shirley resembled her father in appearance and personality; both were friendly, fun-loving, and somewhat bossy. When Gertrude tried to convince him to send Shirley to dancing lessons, George, a hardworking man who was both politically and financially conservative, initially believed that it was a wasteful extravagance. But he changed his mind when he realized that his daughter possessed a remarkable sense of rhythm (Shirley was dancing before she was a year old). Charles Lamont noticed Shirley in her dancing class and cast her in two of his short film series, Baby Burlesks and Frolics of Youth, and her career slowly began to take off. Unlike many stage parents who live off their children, George kept his job at the bank even as Shirley became the highest-grossing movie star in the country. He and Gertrude also saved the bulk of Shirley's earnings, even before laws were passed requiring parents of child stars to do so. George was determined to give his daughter the most normal upbringing possible given the extraordinary circumstances. Shirley and George were very close, which helped her to act opposite many of her film fathers. They remained close as Shirley grew up, and she cooked for and spoon-fed her father in his old age. George died on September 30, 1980.- Actress
- Writer
- Soundtrack
During the early times of the Depression when life was more famine than feast, child stars became the blue plate special of the day, served up by Hollywood to help nourish a nation besieged with troubles. Following 20th Century-Fox monumental success with Shirley Temple in the early 1930s, every studio was out searching for its own precocious little commodity who could pack 'em in the aisles despite the lean times. While Paramount whipped up "Little" Mitzi Green, MGM offered Jackie Cooper in the hopes of finding a similar box office jingle. Wildly talented Janie Withers fit the bill, too, and although she earned pint-sized prominence just like the others, it was also for Temple's Fox Studios. As such, Jane remained somewhat of a side course to Temple's main dish (what child star didn't?) throughout much her young "B" level reign. Nevertheless, she became a major bright star in her own right.
The freckled, dark-haired hellraiser was born in Atlanta, Georgia, on April 12, 1926. The daughter of Walter and Lavinia Ruth (Elble) Withers, her parents wasted no time in prodding little Jane quickly into the world of entertainment. Jane was a natural--performing by the time she could walk and talk. By age three, she was taking singing and dancing lessons and at age 4, was starring on her own radio program in Atlanta. A spot-on mimic, she was simply uncanny when it came to impersonating the superstars of her day (W.C. Fields, Marie Dressler, Charles Chaplin) and was a veteran pint-sized performer by the time her family moved to Los Angeles after her father was transferred by his company. Jane was enrolled in Lawlor's Professional School and was soon modeling in shows, entertaining at benefits and making the usual rounds of the studios nabbing extra work while waiting for that one big film break.
She found it at age 8 when she won the plum role of the spoiled, obnoxious, doll-ripping, bicycle-riding brat who terrorizes sweet Shirley Temple in Twentieth Century-Fox's Bright Eyes (1934). The infamy earned Jane a sweet contract at Fox and for the next seven years she did it her way as the tyke star of close to 50 "B" level films. Where Shirley was cuddly and ultra huggable, brunette-banged Jane was fun, rambunctious and full of kinetic energy--a scrappy little tomboy who could take on any boy at any time. Her lively vehicles took full advantage of her talents for impersonating movie stars, too. Her first major success came in the form of the title role in Ginger (1935) in which Jane imitated the balcony scene from Romeo and Juliet and was rewarded by the studio with a contract of $125 weekly for six months. Her singing and dancing skills were utilized in such vehicles as This Is the Life (1935) and Paddy O'Day (1936). As the star, she was toned down, of course, from the all-out brat she played against Temple. Jane kept filmgoers entertained throughout the late 1930s with pictures like Pepper (1936) and Angel's Holiday (1937), in which she did an hilarious impression of Martha Raye. She ended 1937 with a bang when she was named one of Motion Picture's Poll's "Top Ten" (#6) box office favorites. Guess who was #1?
The early 1940s would tell the story as to whether Jane could survive the dreaded awkward teen transition that haunted every popular child star. She received her first screen kiss at age 13 in Boy Friend (1939) and was singled out for her work in The Ritz Brothers' Pack Up Your Troubles (1939), but Jane's antics simply didn't play as well and the studio began to lose interest. In fact, both Shirley and Jane felt the pressures of growing up and Darryl F. Zanuck let both of them go in July of 1942. Jane signed a three-year picture deal with Republic Pictures with lukewarm results. Her best dramatic role at that time came with The North Star (1943).
In 1947, the same year as her last picture of the decade, Jane married a wealthy Texas oil man, William Moss, and had three children by him--William, Wendy, and Randy. The marriage was not a happy one and lasted only six years. She also was suffering from rheumatoid arthritis. In 1955, she remarried, this time to Kenneth Errair, one-quarter of the harmonizing group "The Four Freshmen." They had two children, Ken and Kendall Jane. At the same time, she attempted a Hollywood comeback. While studying directing at the USC film school, she met producer/director George Stevens who cast her in an enviable character role in the epic-sized Giant (1956) supporting Rock Hudson, Elizabeth Taylor, and James Dean. Other film roles followed with The Right Approach (1961) and Captain Newman, M.D. (1963).
It was TV, however, that would turn Jane into a wealthy woman as a friendly household pitchwoman. Her decades-long job as the dress-downed Josephine the Plumber pushing Comet cleanser made her one popular gal when working in films became a non-issue. From time to time she made guest appearances on such fun, lightweight shows as The Munsters (1964), The Love Boat (1977), Murder, She Wrote (1984), and Hart to Hart (1979). Known for her strong spiritualism and charitable contributions, Jane's buoyant, indefatigable nature was still, at age 90+, highly infectious. She not only did voiceover work for Disney's animated features but still popped up here and there for interviews and convention signings--as bright-eyed and bushy-tailed as she was in her childhood heyday. A widow in 1968, (her second husband perished in a June 14th plane crash in California), she also lost one of her five children, Randy, to cancer when he was only 33.- Actor
- Music Department
- Soundtrack
Buddy Pepper (born Jack R. Starkey) was born in La Grange, Kentucky. At the age of 5 years old, he became a self-taught pianist and, in addition to his abilities to sing and dance, he used his gift for playing songs by ear to entertain audiences both locally and abroad alongside his partner Florence Pepper. He soon made his way into the Hollywood scene, and after a brief career onscreen, Buddy began to thrive as a songwriter and accompanist. He served as the pianist of such notables as Judy Garland--for her European tour in 1951--Margaret Whiting, Lisa Kirk, Jack Smith, and Marlene Dietrich, among others.
In 1953, Buddy co-wrote with his collaborators Inez James and Larry Russell the classic Les Paul and Mary Ford hit "Vaya Con Dios," which became the most popular song of 1953. It held a spot at #1 in the nation for several weeks before ending the year as Billboard's "Top Tune of 53." Several other versions of the song went on to receive similar acclaim as well, and in 1976, Freddy Fender's recording earned Buddy an award from the ASCAP. Paul and Ford's version is today a member of the Grammy Hall of Fame; it was inducted in 2005.
Buddy died of heart failure in Sherman Oaks, California, at the age of 70.- Actor
- Director
- Producer
One of Hollywood's preeminent male stars of all time, James Cagney was also an accomplished dancer and easily played light comedy. James Francis Cagney was born on the Lower East Side of Manhattan in New York City, to Carolyn (Nelson) and James Francis Cagney, Sr., who was a bartender and amateur boxer. Cagney was of Norwegian (from his maternal grandfather) and Irish descent. Ending three decades on the screen, he retired to his farm in Stanfordville, New York (some 77 miles/124 km. north of his New York City birthplace), after starring in Billy Wilder's One, Two, Three (1961). He emerged from retirement to star in the 1981 screen adaptation of E.L. Doctorow's novel "Ragtime" (Ragtime (1981)), in which he was reunited with his frequent co-star of the 1930s, Pat O'Brien, and which was his last theatrical film and O'Brien's as well). Cagney's final performance came in the title role of the made-for-TV movie Terrible Joe Moran (1984), in which he played opposite Art Carney.- Producer
- Actor
- Director
Robert Montgomery was born Henry Montgomery Jr., the elder son of New York businessman Henry Montgomery and his wife, Mary Weed (Barney), a native of Brooklyn, Kings County, New York. Montgomery had a younger brother, Donald. He was not related to Belinda Montgomery.
As a child, he enjoyed a privileged life. His father, Henry Montgomery, was the president of the New York Rubber Co. When Henry Montgomery died and owing to the Depression, the family fortune was gone. Henry Jr. and his younger brother, Donald, worked at a number of jobs. He later went to New York to be a writer, and on the advice of a friend, tried acting. He worked with George Cukor on the stage and his first film, at MGM, was So This Is College (1929), changing his forename.
When Norma Shearer picked him to be her leading man in Private Lives (1931), he was set. He ran the gamut of different characters over the years. He served as President of the Screen Actors Guild from 1935-38 and 1946-47.. His stay with MGM lasted 16 years, and was only interrupted by WWII when he joined the navy. He saw action in both Europe and the Pacific.
He returned to MGM in 1945 and co-starred with John Wayne in the John Ford-directed They Were Expendable (1945) and then made his directorial debut with Lady in the Lake (1946) (although he had directed a few scenes, uncredited, in They Were Expendable (1945) when John Ford took ill). He left MGM to become an independent director, preferring work behind the camera instead of in front.
A staunch Republican, he was a friendly witness before the House Un-American Activities in 1947 during the McCarthy era and then spent most of his time on television and stage. His popular show, Robert Montgomery Presents (1950), was where his daughter, Elizabeth Montgomery (who later gained lasting fame as beautiful witch Samantha Stevens on Bewitched (1964)), got her first acting job.
Robert Montgomery died of cancer on September 27, 1981, aged 77, at Columbia-Presbyterian Hospital in Manhattan, New York City. His body was cremated and the ashes were given to the family.- Actor
- Second Unit Director or Assistant Director
- Director
After giving up college, George Murphy decided to become a dancer. Starting in 1927, he worked with his wife and partner Julie Johnson on Broadway. In 1934, after his wife retired from show business, he worked with Shirley Temple, in Hollywood, as well as Eleanor Powell, Fred Astaire, and Ronald Reagan. A Republican since 1939, in 1945 he became president of the Screen Actors Guild. He retired from the silver screen in 1952, became a TV producer and in 1964 was elected as Senator of California.- Producer
- Director
- Cinematographer
Lee De Forest was born on 26 August 1873 in Council Bluffs, Iowa, USA. He was a producer and director, known for Phonofilm (1923), A Musical Monologue (1923) and Syncopation and Song (1927). He was married to Marie Mosquini, Nora Stanton Blatch, Lucille Sheardown and Mary Mayo (concert singer). He died on 30 June 1961 in Hollywood, California, USA.- Actor
- Writer
- Soundtrack
Edgar Bergen was born on 16 February 1903 in Chicago, Illinois, USA. He was an actor and writer, known for Fun and Fancy Free (1947), The Muppet Movie (1979) and Letter of Introduction (1938). He was married to Frances Bergen. He died on 30 September 1978 in Las Vegas, Nevada, USA.- Frances Gifford had a somewhat unorthodox introduction to the movie business. Born and raised in Long Beach, California, she had no ambition to be an actress, and in fact had applied to UCLA when, at age 16, she and a friend got to visit the Samuel Goldwyn Studios, where they watched a movie being shot. A studio exec saw her and asked if she would take a screen test. She did, the studio was impressed with the result and put her under contract. Nothing much came of it, however, other than bit parts, and she moved to RKO. Nothing much happened there, either. She had married actor James Dunn and decided to retire, which she did, in 1938. Off the screen for almost two years, she got a small part in Mr. Smith Goes to Washington (1939), and her career began to revive. She was signed by Paramount, which soon loaned her to Republic, where she made the film she is probably most remembered for: the serial Jungle Girl (1941), based on an Edgar Rice Burroughs story.
Unfortunately, her career never really took off, and she bounced around among several studios. In 1948 she was involved in an auto accident in which she received severe head injuries. Although she seemed to recover physically, her career took a nosedive, and she made her last film in 1953. In 1958 newspaper stories reported that as a result of the injuries sustained in the accident, she was admitted to a California state mental hospital. Nothing further was heard from her or about her until 1983, when a writer for a film magazine found her in Pasadena. She had apparently fully overcome her physical and mental problems and was working for the city library. She died of emphysema in Pasadena in 1994. - Actor
- Soundtrack
James Dunn worked on the stage, in vaudeville and as an extra in silent movies before he was signed by Fox in 1931. His first movie with Fox was 1931's Sob Sister (1931). While at Fox, he appeared with Shirley Temple in her first three features: Baby, Take a Bow (1934), Stand Up and Cheer! (1934) and Bright Eyes (1934). Dunn's screen character was usually the boy next door or the nice guy. In 1935 musicals at the new 20th Century-Fox were out and Dunn would move to the "B" list, from which he would never return. In The Payoff (1935) he plays the nice guy newspaper columnist whose wife ruins his career. By the late 1930s he was drinking heavily and became unemployable. He would appear in small roles in films during the early 1940s, but those parts were few and far between. In 1945 he was able to make a comeback and won the Oscar for Best Supporting Actor in A Tree Grows in Brooklyn (1945), but his rejuvenated career would not continue. By 1951 he would again be unemployed and bankrupt. Television would later supply some work and he would be a regular on the series It's a Great Life (1954).- Actress
- Soundtrack
Although this lovely, light brown-haired leading lady would wind up better known as one of Loretta Young's two elder acting sisters, Sally Blane nevertheless enjoyed a lively albeit modest "B" film career during the late 1920s and 1930s. The resemblance to her "A"-level sister was very strong -- the same graceful, elongated face and fawn-like, wide-set eyes. Unlike her younger sister, however, Sally lacked strong determination and ambition. Although she remained on the second or third Hollywood tier throughout her career, her film output was considerable if mostly routine.
Sally was born Elizabeth Jane Young in Salida, Colorado in 1910 while her mother was en route by train to the family home in Salt Lake City, Utah (the train actually had to make an unscheduled stop so that her mother could give birth). Her parents, Gladys and John, separated when she was five years old and her mother moved her four children to Hollywood where one of Gladys's sisters lived, later running a boarding house. All the children pitched in financially by becoming movie extras. Sally and her younger brother John R. Young (better known as Jack) both appeared uncredited in the silent film Sirens of the Sea (1917) starring Jack Mulhall, in which Sally played a sea nymph. Sally also had an unbilled part in Rudolph Valentino's smoldering classic The Sheik (1921).
Her beauty only heightened as she grew up. Director Wesley Ruggles noticed the teen dancing at the Café Montmartre (now known as Montmartre Lounge) and tested her for his "Collegian" film series. She was cast and soon signed by Paramount, which insisted on the new marquee name of Sally Blane. Around the same time, younger (by three years) sister Loretta (born Gretchen Young) signed with First National Pictures. During their early build-up both Sally and Loretta were dubbed "Wampas Baby Stars of 1929". Throughout this time their mother maintained a firm hand in the girls' personal and professional lives.
One of Sally's first leading roles was in the western Shootin' Irons (1927) and she went on to play a number of prairie flowers opposite Hollywood's top cowboys. She starred opposite Tom Mix in three pictures: Horseman of the Plains (1928), King Cowboy (1928), and Outlawed (1929). Her career peaked early, however, and Sally seemed content to freelance for such Poverty Row studios as Monogram, Excelsior, Chesterfield and Artclass in a variety of genres--crime thrillers, light comedies, mysteries, action adventures. She eventually developed a "nice girl" image.
A two-year lull occurred following the filming of Fox's This Is the Life (1935), and Sally never tried very hard to regain her momentum. Much of this had to do with her meeting of (in 1935) and marriage to (in 1937) director and one-time actor Norman Foster, who had once dated Loretta. Although Sally returned to films in 1937, she was already focused on her marriage and having a family. She and sisters Polly Ann Young and Georgiana Young, however, did make it a family affair at Loretta's insistence when they were given featured roles in Loretta's The Story of Alexander Graham Bell (1939). They all played, of course, Loretta's sisters and this was to be the only time all four girls ever appeared together. One of Sally's last pictures was in the whodunit Charlie Chan at Treasure Island (1939), directed by her husband. During WWII, the family, which now included a son and daughter, lived in Mexico where Foster was directing Spanish-language pictures. She appeared in one of them (La fuga (1944), with Ricardo Montalban). Later the family relocated to Beverly Hills and Sally officially ended her cinematic career with a small part in A Bullet for Joey (1955).
Comfortably retired for many decades, Foster died of cancer in 1976. Sally herself succumbed to the disease more than two decades later, on August 27, 1997. Cancer had claimed sister Polly just months earlier that same year. John R. Young also died in 1997, of undisclosed causes. Loretta would die of ovarian cancer in 2000. Sally was survived by her two children, Robert and Gretchen.- Director
- Actor
- Writer
Norman Foster was born on 13 December 1903 in Richmond, Indiana, USA. He was a director and actor, known for The Loretta Young Show (1953), I Cover Chinatown (1936) and Mr. Moto's Last Warning (1938). He was married to Sally Blane and Claudette Colbert. He died on 7 July 1976 in Santa Monica, California, USA.- Actor
- Soundtrack
Becoming popular with playing the ukulele, his unique singing and supplying the voice of animated movies, Cliff Edwards was one of the most popular singers in America.
Born in Hannibal, Missouri, Edwards left school at the age of 14, moved to St. Louis, and started to work as a singer in saloons. Edwards then taught himself to play the ukulele. He got his nickname, "Ukelele Ike", from a club owner who couldn't remember his name.
Entering in the vaudeville circuit, he finally made it big. When entering into movies, one of his first movies he made was his most noticeable: The Hollywood Revue of 1929 (1929). Eleven years later, he was immortalized in Disney's Pinocchio (1940).- Irene Coleman was born on 13 August 1913 in Nashua, New Hampshire, USA. She was an actress, known for Tripping Through the Tropics (1934), Romance of the Potato (1939) and Old King Cole (1933). She died on 19 July 1975 in Santa Monica, California, USA.
- Additional Crew
- Producer
Lasky, one of the first pioneers of the Hollywood film industry and its first genuine 'mogul', was not only a consummate showman and entrepreneur, but a jack-of-all-trades. Born in San Francisco in September 1880, the son of a shoe salesman, he attended high school in San Jose and held down his first job at seventeen as a reporter for the San Francisco Post. He supplemented his scant income by moonlighting as a cornettist at local theatres. In 1899, he became infected with the prevailing gold fever and joined the rush to Alaska. He found no gold, but instead lost his own money. The next ten years saw him playing his cornet in Honolulu as the only white musician in the Royal Hawaiian Band, and then forming a vaudeville double act with his sister Blanche, touring on the East Coast and in Europe. By 1911, Lasky had established himself in New York. Already corpulent, balding, and wearing his trademark rimless glasses, looking every inch the promoter, Lasky started to produce musicals and comedy sketches for vaudeville. He also set up his own nightclub in New York, but it turned out a financial fiasco to the tune of $100,000. Having befriended the actor and writer Cecil B. DeMille, Lasky then decided to make his fortune in the burgeoning film industry.
In 1913, along with DeMille and his brother-in-law Samuel Goldfish (later to become Samuel Goldwyn), Lasky established the Jesse L. Lasky Feature Play Company with a starting capital of $26,500. His first feature was to be an epic western, The Squaw Man (1914), acquired for the then-princely sum of $15,000. It was to be filmed not at the regular facilities at Ft. Lee, New Jersey, but - for added realism - on location out west. Once arrived at their destination, Flagstaff, Arizona, Lasky and his companions found themselves in the middle of an old-fashioned range war between cattlemen and sheepmen. They wisely decided to keep on going and ended up in the small Californian town of Hollywood, where they rented a barn at the corner of Vine and Selma Street for $75 a month.
Production on the first ever feature shot in Hollywood began with one barn, one truck and a single camera (operated by Oscar Apfel) in January 1914. 'The Squaw Man' was a huge financial success, enabling Lasky to contract several new stars, including Blanche Sweet, Wallace Reid and Ina Claire. In 1915, he scooped his competitors again, by signing popular opera diva Geraldine Farrar to a three-picture deal for a fee of $20,000, a house (complete with servants), a chauffeur-driven limousine and a private railway carriage for her trip from, and back to, the Big Apple. At this time, the company counted among its regular roster, five directors, five cinematographers and some eighty contract players. All output was released through the Paramount Pictures Corporation, which had been formed by Adolph Zukor in partnership with Lasky, Goldfish and West Coast theatre proprietor W.W. Hodkinson. In 1916, Lasky merged with Zukor's Famous Players to become Famous Players Lasky (re-formed as Paramount in 1927), serving as vice president in charge of production under Zukor . In this capacity, he imprinted his artistic vision on much of the studio's output during the silent era, signing Rudolph Valentino for The Sheik (1921), discovering Maurice Chevalier in 1929, and so on. His input was also reflected in Paramount's overall predilection for adventure films and romances with a continental flavour. Paramount emerged from the silent era as the pre-eminent studio in Hollywood with the most cosmopolitan roster of stars and directors. Lasky himself became enormously wealthy, amassing a fortune estimated somewhere between $12 and $20 million - and losing it all during the Wall Street Crash.
Under pressure from the IRS and back-stabbed by his own personal assistant, Lasky was eventually ousted from his executive position at Paramount in 1932. Unsettled, he worked as an independent producer for Fox, then Warner Brothers and RKO. There was also a short-lived partnership with Mary Pickford in 1935, and, between 1938 and 1940, he produced his own radio talent show, 'Gateway to Hollywood'. During his final creative spell at Warners, he produced three seminal motion pictures: Sergeant York (1941), The Adventures of Mark Twain (1944) and Rhapsody in Blue (1945). For the last few years of his life, he was virtually unemployed. In 1957, Lasky finally returned to Paramount to work on a project which was to settle his dept with the IRS. He never completed it, dying in January 1958, almost forgotten by the industry he helped to create.- Actress
- Soundtrack
Born into a prominent Mormon family in Utah, Laraine Day's acting career began after her parents moved to Long Beach, California, where she joined the Long Beach Players. She appeared in her first film in 1937 in a bit part, then did leads in several George O'Brien westerns. Signing a contract with MGM, she achieved popularity playing the part of Nurse Lamont in that studio's "Dr. Kildare" series. An attractive, engaging performer, she had leads in several medium-budget films for various studios, but never achieved major stardom. She was married for 13 years to baseball manager Leo Durocher, and took such an active interest in his career and the sport of baseball in general that she became known as "The First Lady of Baseball".- Additional Crew
Monroe Greenthal was born on 26 September 1906 in New York, USA. Monroe was married to Ruth D. Lowe. Monroe died in June 1963 in White Plains, New York, USA.- Producer
- Director
- Editor
His parents Henry C. DeMille and Beatrice DeMille were playwrights. His father died when he was 12, and his mother supported the family by opening a school for girls and a theatrical company. Too young to enlist in the Spanish-American War, Cecil followed his brother William C. de Mille to the New York Academy of Dramatic Arts, making his stage debut in 1900. For twelve years he was actor/manager of his mother's theatrical company. In 1913, Jesse L. Lasky, Samuel Goldwyn and DeMille formed the Lasky Film Company (which years later evolved into Paramount Pictures), and the next year went west to California and produced the successful six reeler, The Squaw Man (1914), of historical significance as the first feature length film produced in Hollywood. He championed the switch from short to feature-length films and is often credited with making Hollywood the motion picture capital of the world. Rather than putting his money into known stars, he emphasized production values. He also developed stars, notably Gloria Swanson. He produced and directed 70 films and was involved in many more. Many of his films were romantic sexual comedies (he is supposed to have believed that Americans were curious only about money and sex). His best-known were biblical/religious epics: Joan the Woman (1916), The Ten Commandments (1923), The King of Kings (1927), The Sign of the Cross (1932), The Crusades (1935), Samson and Delilah (1949), and The Ten Commandments (1956). From 1936 to 1945 he hosted and directed the hour-long "Lux Radio Theatre", which brought the actors and stories of many movies to the airwaves and further established him as the symbol of Hollywood. He appeared as himself in the classic Sunset Boulevard (1950) with his former star Gloria Swanson as the fictitious disturbed former silent film actress Norma Desmond. His niece Agnes de Mille was the acclaimed choreographer of both the original Broadway production and film version of Oklahoma! (1955).- Constance Adams was born on 27 April 1874 in Orange, New Jersey, USA. She was an actress, known for Where the Trail Divides (1914) and Screen Snapshots, Series 4, No. 7 (1923). She was married to Cecil B. DeMille. She died on 17 July 1960 in Los Angeles, California, USA.
- Actor
- Soundtrack
Forrest Tucker, best known to the Baby Boom generation as Sergeant O'Rourke on the classic TV sitcom F Troop (1965), was born on February 12, 1919, in Plainfield, Indiana. He began his performing career at age 14 at the 1933 Chicago "Century of Progress" World's Fair, pushing big wicker tourists' chairs by day and singing at night. His family moved to Arlington, Virginia, where he attended Washington-Lee High School in 1938.
Big for his age, as a youth Tucker was hired by the Old Gayety Burlesque Theater in Washington, DC, to serve as a Master of Ceremonies for the burly-cue after consecutively winning Saturday night amateur contests. He was fired when it was found out that he was underage. When he turned 18, he was rehired by the Old Gayety.
After graduating from high school in 1938, the 6'4", 200-lb. Tucker played semi-pro football in the Washington, DC, area. He also enlisted in the National Guard and was assigned to a cavalry unit in Ft. Myers, Virginia. He started at the top when he entered the movies, in a supporting role in William Wyler's The Westerner (1940) opposite Gary Cooper and Walter Brennan, who won his third Oscar for portraying Judge Roy Bean in the picture. He got the role during his 1939 vacation from the Old Gayety, which shut down due to the District of Columbia's horrible summers in the days before air conditioning was common.He was signed to the part in the Wyler picture, which required a big fellow with enough presence for a fight scene with the 6'3" superstar Cooper.
Tucker moved to California and began auditioning for parts in films. After "The Westerner", it was off to Poverty Row, where he appeared in William Beaudine's Emergency Landing (1941) at rock-bottom PRC (Producers Releasing Corp.). He was soon signed by Columbia and assigned to the B-pictures unit, though he was lent to MGM for the Spencer Tracy-Katharine Hepburn vehicle Keeper of the Flame (1942), his last film before going off to World War II.
Tucker served as an enlisted man in the Army during the war, being discharged as a second lieutenant in 1945. He returned to Columbia and resumed his acting career with an appearance in the classic film The Yearling (1946). He signed with Republic Pictures in 1948, which brought him one of his greatest roles, that of the Marine corporal bearing a grudge against gung-ho sergeant John Wayne in Sands of Iwo Jima (1949). At Republic Tucker was top-billed in many of the "B' pictures in the action and western genres the studio was famous for, such as Rock Island Trail (1950), California Passage (1950) and Ride the Man Down (1952), among many others. In 1958 he broke out of action / western pictures and played Beauregard Burnside to Rosalind Russell's Auntie Mame (1958), the highest grossing US film of the year. It showed that Tucker was capable of performing in light comedy.
Morton DaCosta, his director on "Auntie Mame", cast Tucker as "Professor" Harold Hill in the national touring production of The Music Man (1962), and he was a more than credible substitute for the great Broadway star Robert Preston, who originated the role. Tucker made 2,008 appearances in The Music Man over the next five years, then starred in "Fair Game for Lovers" on Broadway in 1964.
However, it was television that provided Tucker with his most famous role: scheming cavalry sergeant Morgan O'Rourke in "F Troop", which ran from 1965 to 1967 on ABC. Ably supported by Larry Storch, Ken Berry and James Hampton, Tucker showed a flair for comedy and he and Storch had great chemistry, but the series was canceled after only two seasons. It has, however, remained in syndication ever since.
Following "F Troop", Tucker returned to films in supporting parts (having a good turn as the villain in the John Wayne western Chisum (1970)) and character leads (The Wild McCullochs (1975)). On television he was a regular on three series: Dusty's Trail (1973) with Bob Denver; The Ghost Busters (1975), which reunited him with Larry Storch; and Filthy Rich (1982). Tucker was also a frequent guest star on TV, with many appearances on Gunsmoke (1955) and in the recurring role of Jarvis Castleberry, Flo's estranged father, on Alice (1976) and its spin-off, Flo (1980). He continued to be active on stage as well, starring in the national productions of Plaza Suite (1971), Show Boat (1936), and That Championship Season (1982). He also toured with Roy Radin's Vaudeville Revue, a variety show in which, as a headliner, he told Irish stories and jokes and sang Irish songs.
Tucker returned to the big screen after an absence of several years in 1986, playing hero trucker Charlie Morrison in the action film Thunder Run (1985). His comeback to features was short-lived, however, as he died on October 25, 1986, in the Los Angeles suburb of Woodland Hills, of complications from lung cancer and emphysema. He was 67 years old. Tucker was buried in Forest Lawn-Hollywood Hills Cemetery in Los Angeles.- Producer
- Writer
- Director
Roy Edward Disney began working for the Walt Disney Company as an assistant film editor on the True-Life Adventure film in 1954. In 1967, he was elected to the Board of Directors of the company. In 1984, he returned to the company as vice chairman of the board, and head of the animation department. On October 16, 1998, in a surprise presentation made at the newly unveiled Disney Legends Plaza at the company's headquarters, Disney Chairman and CEO Michael Eisner presented him with the prestigious Disney Legends Award.- Director
- Actor
- Writer
From Ernst Lubitsch's experiences in Sophien Gymnasium (high school) theater, he decided to leave school at the age of 16 and pursue a career on the stage. He had to compromise with his father and keep the account books for the family tailor business while he acted in cabarets and music halls at night. In 1911 he joined the Deutsches Theater of famous director/producer/impresario Max Reinhardt, and was able to move up to leading acting roles in a short time. He took an extra job as a handyman while learning silent film acting at Berlin's Bioscope film studios. The next year he launched his own film career by appearing in a series of comedies showcasing traditional ethnic Jewish slice-of-life fare. Finding great success in these character roles, Lubitsch turned to broader comedy, then beginning in 1914 started writing and directing his own films.
His breakthrough film came in 1918 with The Eyes of the Mummy (1918) ("The Eyes of the Mummy"), a tragedy starring future Hollywood star Pola Negri. Also that year he made Carmen (1918), again with Negri, a film that was commercially successful on the international level. His work already showed his genius for catching the eye as well as the ear in not only comedy but historical drama. The year 1919 found Lubitsch directing seven films, the two standouts being his lavish Passion (1919) with two of his favorite actors--Negri (yet again) and Emil Jannings. His other standout was the witty parody of the American upper crust, The Oyster Princess (1919) ("The Oyster Princess"). This film was a perfect example of what became known as the Lubitsch style, or the "Lubitsch Touch", as it became known--sophisticated humor combined with inspired staging that economically presented a visual synopsis of storyline, scenes and characters.
His success in Europe brought him to the shores of America to promote The Loves of Pharaoh (1922) ("The Loves of Pharaoh") and he become acquainted with the thriving US film industry. He soon returned to Europe, but came back to the US for good to direct new friend and influential star Mary Pickford in his first American hit, Rosita (1923). The Marriage Circle (1924) began Lubitsch's unprecedented run of sophisticated films that mirrored the American scene (though always relocated to foreign or imaginary lands) and all its skewed panorama of the human condition. There was a smooth transition between his silent films for Warner Bros. and the sound movies--usually at Paramount--now embellished with the flow of speech of Hollywood's greats lending personal nuances to continually heighten the popularity at the box office and the fame of Lubitsch's first-rate versatility in crafting a smart film. There was a mix of pioneering musical films and some drama also through the 1930s. The of those films resulted in Paramount making him its production chief in 1935, so he could produce his own films and supervise production of others. In 1938 he signed a three-year contract with Twentieth Century-Fox.
Certainly two of his most beloved films near the end of his career dealt with the political landscape of the World War II era. He moved to MGM, where he directed Greta Garbo and Melvyn Douglas in Ninotchka (1939), a fast-paced comedy of "decadent" Westerners meeting Soviet "comrades" who were seeking more of life than the mother country could--or would--offer. During the war he directed perhaps his most beloved comedy--controversial to say the least, dark in a tongue-in-cheek sort of way--but certainly a razor-sharp tour de force in smart, precise dialog, staging and story: To Be or Not to Be (1942), produced by his own company, Romaine Film Corp. It was a biting satire of Nazi tyranny that also poked fun at Lubitsch's own theater roots with the problems and bickering--but also the triumph--of a somewhat raggedy acting troupe in Warsaw during the Nazi occupation. Jack Benny's perfect deadpan humor worked well with the zany vivaciousness of Carole Lombard, and a cast of veteran character actors from both Hollywood and Lubitsch's native Germany provided all the chemistry needed to make this a classic comedy, as well as a fierce statement against the perpetrators of war. The most poignant scene was profoundly so, with Felix Bressart--another of Reinhardt's students--as the only Jewish bit player in the company. His supreme hope is a chance to someday play Shylock. He gets his chance as part of a ruse in front of Adolf Hitler's SS bodyguards. The famous soliloquy was a bold declaration to the world of the Axis' brutal inhumanity to man, as in its treatment of and plans for the Jewry of Europe.
Lubitsch had a massive heart attack in 1943 after having signed a producer/director's contract with 20th Century-Fox earlier that year, but completed Heaven Can Wait (1943). His continued efforts in film were severely stymied but he worked as he could. In late 1944 Otto Preminger, another disciple of Reinhardt's Viennese theater work, took over the direction of A Royal Scandal (1945), with Lubitsch credited as nominal producer. March of 1947, the year of his passing, brought a special Academy Award (he was nominated three times) to the fading producer/director for his "25-year contribution to motion pictures." At his funeral, two of his fellow directorial émigrés from Germany put his epitaph succinctly as they left. Billy Wilder noted, "No more Lubitsch." William Wyler answered, "Worse than that - no more Lubitsch films."- Vivian Gaye was born on 13 December 1907 in Highgate, London, England, UK. She was an actress, known for The Frog (1937) and Gone to the Dogs (1928). She was married to Ernst Lubitsch. She died on 18 July 2010 in Southampton, New York, USA.
- Director
- Art Director
- Costume Designer
Mitchell Leisen was born on 6 October 1898 in Menominee, Michigan, USA. He was a director and art director, known for Death Takes a Holiday (1934), The Mating Season (1951) and Hold Back the Dawn (1941). He was married to Stella Yeager. He died on 28 October 1972 in Woodland Hills, Los Angeles, California, USA.- Producer
- Actress
- Additional Crew
Cold, calculating and hard-as-nails is probably the best definition of Gail Patrick's femmes on the 30s and 40s silver screen, and the actress herself was no softie in real life. The tall, slender, patrician beauty was born with the equally stately-sounding name Margaret LaVelle Fitzpatrick in Birmingham, Alabama, on June 20, 1911. She received a B.A. and was a dean of women at her alma mater, Howard College, for a time. She was studying pre-law at the University of Alabama at the time she, by happenstance, became a finalist in a nationwide contest for a Paramount film role (which she did not get). This led her to go to Hollywood and, despite her loss, the studio wound up offering her a studio contract at $50 a week (she managed to finagle her way to $75).
After the usual grooming in bit parts, Gail moved stealthily up the ladder to featured roles in a wide assortment of genres including the fantasy Death Takes a Holiday (1934), the melodramatic thriller The Crime of Helen Stanley (1934), the musical Mississippi (1935) and the easy comedy Early to Bed (1936). Just as quickly she began essaying the occasional co-star or leading lady -- that of a woman lawyer in Disbarred (1939) and a romantic diversion in the Zane Grey western adaptations of Wagon Wheels (1934) and Wanderer of the Wasteland (1935). She was most identified, however, in manipulative second leads while usually tangling with the star femme as the "other woman," haughty socialite or scheming villainess.
Gail participated grandly in three well-known film classics. In the screwball comedy My Man Godfrey (1936), she was at odds with Carole Lombard as a spoiled, treacherous sister; in Stage Door (1937), she engaged in some marvelous cat-fights with Ginger Rogers as a cynical wannabe actress, and in My Favorite Wife (1940) she played Cary Grant's exacting second wife who must contend with the reappearance of his first, supposedly dead wife Irene Dunne. Gail exuded wit, confidence, assertiveness and elegance in all her characters, nothing less, and her male co-stars were the sturdiest assortment Hollywood could offer -- Bing Crosby, Randolph Scott, Richard Dix, John Howard, Preston Foster, Dean Jagger and George Sanders.
In 1947, she did an abrupt about-face and left her highly respectable career following her third marriage. After involving herself successfully in clothing design, she became (as Gail Patrick Jackson) the executive producer of the Perry Mason (1957) TV series (1957-1966), alongside producer and husband (Thomas) Cornwell Jackson, who was a literary agent to author/creator Erle Stanley Gardner. The courtroom "whodunnit" was a long and highly successful run. She and Jackson divorced in 1969, and one of her few failures in life was in her attempt to revive the series with The New Perry Mason (1973) in 1973, but Monte Markham was a mighty pale comparison to Raymond Burr in the title role and the show quickly tanked. Divorced three times, she and Mr. Jackson had two adopted children. She was married to her fourth husband John Velde Jr., at the time of her death in 1980 of leukemia. She was 69.- Actress
- Soundtrack
Comedienne/writer Barbara Jo Allen induced laughs nationwide after originating and literally becoming synonymous with the talky, shrill-voiced, man-hungry spinster "Vera Vague," a WWII creation in the late 1930s. She kept the name throughout much of her career and was often billed as such. The character, however, was to be both her fortune and her curse.
Barbara was born on Fifth Avenue in New York City on September 2, 1906. She developed a deep passion for entertaining in high school and appeared in many of her school plays. After graduating, she went to study at the Sorbonne in Paris. Following the death of her parents she moved to Los Angeles to live with an uncle. She broke into radio in 1937 playing the part of Beth Holly on "One Man's Family," then moved into a succession of popular programs such as "Death Valley Days" and "I Love a Mystery."
Inspiration for her highly prim-looking and utterly absurd clubwoman caricature came after the comedienne attended a PTA meeting in which a woman was lecturing endlessly to a group of parents on world literature. The woman had literally no thought pattern and changed the subject with every sentence. The proverbial light bulb switched on and "Vera Vague" was born. The name itself became a household term. Barbara Jo first introduced the character on "NBC Matinee" in 1939 and went on to write most of her own material. Bob Hope took an interest and hired her for his Pepsodent-sponsored show. A favorite, she stayed with the program for many years and, along with other Hope connections such as comic Jerry Colonna and singer Frances Langford, traveled with Bob on his various USO tours throughout the world. She also appeared with other top radio stars of the time such as Al Jolson and Jack Benny.
Essentially a radio artist, she went on to appear in over 50 pictures. In real life, the glamorous and lovely, raven-haired Barbara Jo was nothing at all like the "old maid" character so it slowly evolved into a dizzy, man-chasing gal on film, not unlike the Lucille Ball TV scatterbrain that was forthcoming. In short films from 1938, Barbara made her feature debut unbilled in the classic The Women (1939). She received better or co-star billing in such subsequent "B" musicals as Sing, Dance, Plenty Hot (1940), Melody and Moonlight (1940) opposite Johnny Downs, Kiss the Boys Goodbye (1941) backing up Mary Martin and Don Ameche, Ice-Capades (1941), Hi, Neighbor (1942), and Lake Placid Serenade (1944), providing needed comedy escapism during these war-torn times. The matronly cut-up stole more than a few scenes in Buy Me That Town (1941), Mrs. Wiggs of the Cabbage Patch (1942), Henry Aldrich Plays Cupid (1944), and Girl Rush (1944), among others. Barbara Jo began appearing in comedy shorts for Columbia in 1943. Her voice was purposely dissimilar to the "Vera Vague" voice in her first two-reeler You Dear Boy! (1943), the title also being a popular "Vera" catchphrase. After that, however, Barbara Jo played "Vera" to the delight of her audiences. Two of her Columbia vehicles were nominated for Academy Awards in both 1945 and 1946. She starred in over a dozen shorts for Columbia in all, ending the long run in 1952.
Barbara Jo slowed down considerably after that. Still billing herself as "Vera Vague," she was a regular on the variety show The James Melton Show (1951), and earned TV hostessing jobs on such shows as Follow the Leader (1953) and The Greatest Man on Earth (1952). After being featured in the musical remake of her 1939 film "The Women" entitled The Opposite Sex (1956) as the ever-chatty Dolly DeHaven, she was heard in the immortal animated Disney classic Sleeping Beauty (1959) in which she voiced Fauna, the green "good fairy" character. It was a happy reunion with other fellow radio veterans Verna Felton, who inhabited the part of Flora (the red fairy), and Barbara Luddy as the rolypoly blue fairy Merryweather.
Because she could not escape the "Vera Vague" tag, Barbara Jo eventually retired. In 1943 she married Hope's producer Norman Morrell. Her husband went on to work with other famous names such as Andy Williams. The couple had one daughter and settled in the Santa Barbara area of Southern California until her death in 1974. She had huge compassion for animals and later wrote and published the book "The Animal Convention," which was a story for children in which she voiced ecological and environmental concerns.- Writer
- Producer
- Director
Humorist, playwright and screenwriter Norman Krasna went to great lengths planning for a career in law. He attended New York University, Columbia University and St. John's University law school but then abruptly changed his plans and started work as a copy boy at a New York newspaper. He had a brief stint as a drama critic for the Evening Graphic and wrote a column for the Exhibitor's Herald World and this likely awakened his interest in the film business. He was soon off to L.A. and finagled a job in the Warner Brothers publicity department. Upon seeing his first filmed play, The Front Page (1931), he decided there and then to become a playwright. Having obtained a copy of the original script, he re-typed it over and over to get the hang of style and methodology. This approach seems to have worked since Krasna soon published his first play (the comedy "Louder,Please") which opened on Broadway by November 1931.
While not a huge hit, the play led first to a screenwriting contract with Columbia, then in 1935 with MGM. At MGM, Krasna met Groucho Marx and the two became lifelong friends (in 1948, they wrote a play together, "Time for Elizabeth", which had a brief run on Broadway). Within a relatively short period of time Krasna acquired a reputation for writing intelligent, witty scripts quickly. This ability naturally endeared him to thrifty-minded producers. He also had a penchant for clever one-liners (it would have been fun to sit in on conversational banter between Krasna and Groucho). Krasna did not only confine himself to screwball comedy but also occasionally turned out good original dramatic material such as Fritz Lang's indictment of mob justice, Fury (1936). He penned Mr. & Mrs. Smith (1941) for Alfred Hitchcock, wrote the perennial family favourite White Christmas (1954), and the glossy romantic comedy Indiscreet (1958) based on his own 1953 play "Kind Sir". For the most part, the accolades kept coming for his sophisticated comedies - often featuring mistaken identity (The Ambassador's Daughter (1956)), irascible, or curmudgeonly characters (Charles Coburn in The Devil and Miss Jones (1941) and Princess O'Rourke (1943)), or men-of-the-world cured of their cynicism through love (Cary Grant in 'Indiscreet'). Krasna won an Oscar for 'Princess O'Rourke', one of four films he also directed. While most of his plots are now somewhat dated, his dialogue rarely fails to entertain.
After leaving MGM in 1938, Krasna worked for the next twelve years as a free-lance writer dividing his time between Hollywood and Broadway. In 1950, he formed an independent production company with charismatic producer Jerry Wald at RKO. The enterprise was sadly short-lived. Just four films were produced out of a total of sixty originally stipulated. Krasna then went on to produce several films for various studios, including Clash by Night (1952), which featured a young Marilyn Monroe. He also wrote Marilyn's penultimate film Let's Make Love (1960). That same year, he was honoured with the Laurel Award for Lifetime Achievement from the Screen Writer's Guild. Krasna retired in 1964 and died twenty years later in Los Angeles, aged 74.- Producer
- Additional Crew
- Production Manager
Harry Rapf was born on 16 October 1880 in New York City, New York, USA. He was a producer and production manager, known for Brown of Harvard (1926), The Night Is Young (1935) and Let Freedom Ring (1939). He was married to Clementine Uhlfelder. He died on 6 February 1949 in Los Angeles, California, USA.- Actress
- Soundtrack
Lovely, innocent-looking, well-endowed comedienne Marie Wilson was a featherbrained delight instantly reminiscent of the zany Gracie Allen. Unlike Allen, however, Marie was a knockout--with high cheekbones, a wide slash of a mouth and a figure that wouldn't quit.
She was born Katherine Elizabeth Wilson on August 19, 1916, in Anaheim, California. Her family moved to Hollywood after her businessman father's death and Marie set her sights on an entertainment career while quite young. Educated at Miss Page School and the Hollywood Cumnock School for Girls, she found extra work in films upon graduation and made ends meet at one point by taking a job as a salesgirl in a department store. Her big break occurred after an "accidental" meeting with the director Nick Grinde. The relationship grew intimate, and he was instrumental in the formulation of her early Hollywood career. She appeared in his comedy short My Girl Sally (1935) with the inimitable Sterling Holloway and, to start with, had an extra part in Grinde's feature film Ladies Crave Excitement (1935).
After the 18-year-old was cast (unbilled) as Mary, Quite Contrary in the Stan Laurel and Oliver Hardy musical fantasy March of the Wooden Soldiers (1934), Marie started sharpening up her "dumb blonde" skills. It was Grinde who helped secure her a contract at Warner Brothers in 1935. She would stay with the studio for four years. After making her Warners debut in Broadway Hostess (1935), Marie adroitly moved around and about the "B"-level chain (along with an intermittent "A" movie). As the quintessential dizzy, dim-witted foil, Marie scored in several Prohibition-style entertainment showcases, including the comedy potboilers Stars Over Broadway (1935), Miss Pacific Fleet (1935), Satan Met a Lady (1936), Melody for Two (1937), Public Wedding (1937) (directed by Grinde), The Great Garrick (1937), Fools for Scandal (1938), Boy Meets Girl (1938) (one of her best), Broadway Musketeers (1938) and Sweepstakes Winner (1939). Her last film for Warners was the forgettable The Cowboy Quarterback (1939).
Following the termination of her Warners contract in 1939, Marie had trouble securing film work. As compensation, she found great stage success as the sexy stooge for impresario Ken Murray in his extremely popular Los Angeles "Blackout" vaudeville-style stage shows of the early 1940s. Her mock striptease bit was a particular highlight and she stayed with the show for an incredible seven years. Intermixed were an array of film opportunities for various studios: Rookies on Parade (1941), She's in the Army (1942), The Fabulous Joe (1947), A Girl in Every Port (1952), Never Wave at a WAC (1953), Marry Me Again (1953) and her last, Mr. Hobbs Takes a Vacation (1962). She reached her "dumb blonde" zenith with the successful radio, film and TV versions of My Friend Irma (1949). Most of her subsequent kooky characterizations from then on were patterned on her Irma persona.
A smart, ambitious woman known to do crazy stunts for publicity, Marie took to the stage, nightclub and TV circuits once her film career bottomed out after the spectacular arrival of Marilyn Monroe. On the road in summer stock and dinner theater engagements, Marie appeared to find advantage in such well-suited vehicles as "Bus Stop," "Born Yesterday and "Gentlemen Prefer Blondes." One of her last roles was in animated form as a voice in the cartoon Where's Huddles? (1970).
Married twice, she had an adopted son, Gregson (Greg) via her second marriage to actor/TV producer Robert Fallon. Her first, to actor Allan Nixon, ended in divorce. Marie had undergone surgery several times for cancer by the time she died at age 56, surrounded by her family, in 1972.- Director
- Second Unit Director or Assistant Director
- Writer
Nick Grinde's career lasted from the late 1920s to the mid-'40s, but his heyday was the mid to late 1930s. Grinde was one of the journeyman directors (such as Lesley Selander, George Sherman, Lew Landers, etc.) who made the "B" pictures that everybody enjoyed at a Saturday matinée, but whose name no one would recognize. While none of Grinde's pictures were particularly memorable, they encompassed all genres, from horror to musicals to comedies and even a western or two, but he was especially adept at crime and action dramas--he turned out a number of tight, fast-moving little pictures of that type for Warner Bros.- Actor
- Soundtrack
A familiar character face in movies and television, Walter Abel was a dedicated stage actor who had studied at the prestigious American Academy of Dramatic Arts in New York before moving on to a progression of stage work that culminated in his first appearance on Broadway in the original play "Forbidden" in late 1919. The year before he had just dabbled in the relatively new film industry doing Out of a Clear Sky (1918) directed by prolific silent actor and director Marshall Neilan. Abel did just one other silent and then moved back into serious stage work for ten years (including doing some road productions in 1924) before once again surfacing in film for the first sound version of the play Liliom (1930). Perhaps he was enticed with doing the play on film, but his was a small part and the sound of early talkies - as usual - was lousy. Once again Abel returned to Broadway and worked steadily from late 1930 into part of the 1934 season. He would have some 40 Broadway roles in his career.
About that time his stage success was noticed by Hollywood, and he was signed with RKO. The studio had decided to do the first sound version of Alexander Dumas' The Three Musketeers (1935) which first appeared as a silent in 1922 with Douglas Fairbanks. The part of the enthusiastic but novice D'Artagnan really called for a younger actor reflecting those traits, and RKO decided to go with Abel. He had a bright voice and an animated style of theater acting that seemed a good bet. It was all the more impressive considering Abel was in his mid 30s - but he looked younger. RKO did not skimp on the film. The director was Rowland Lee, who had just finished another Dumas filming, The Count of Monte Cristo (1934) with Robert Donat. The rousing music was composed by Max Steiner, and the costumes were gloriously rendered by Walter Plunkett.
Abel had a strong supporting cast in the three musketeers: Paul Lukas, Moroni Olsen, and Onslow Stevens. Imposing European leading man Lukas and LA native Stevens had transitioned from silent films. This was Olsen's first movie, but he was a stage actor with his own acting troupe and some Broadway experience. As Porthos he had the opportunity to boom and bellow with hammy 19th century theatrics that fit the part. Abel's competence and an experienced cast showed in an enthusiastic rendition of the story with dueling set ups by first-time fencing choreographer Ralph Faulkner that would be taken to heart by later productions. So those who have tended to hindsight this film as a pale forerunner of later versions really do it a contextual injustice.
The movie did well enough, and Abel moved among second tier RKO leads through 1938, while playing support to bigger names. But that is showbiz - obviously he was destined as a supporting actor, and he handled both comedy and drama with a self-assured style that kept him very busy through the 1940s. He was back on Broadway occasionally as well, with a last appearance in 1975. By 1949 he quickly embraced early TV playhouse productions and would appear in some 30 roles by 1960. He transitioned to being a familiar face on episodic TV along with a few more film roles through the 1960s and up to just a few years before his passing.- Actor
- Soundtrack
A composer ("Sweet Georgia Brown"), author, violinist and conductor, he was educated at the NY College of Music, City College of New York, and the Columbia School of Mines. Beginning his vaudeville act while selling violins in a New York department store, he organized his own orchestra in 1922, playing a long engagement at the Hotel Roosevelt in New York, then toured Europe. He toured with Maurice Chevalier, and was featured on radio for twenty years. Joining ASCAP in 1934, his musical collaborators were Kenneth Casey, Al Goering, Walter Hirsch, and Maceo Pinkard. Song compositions include "Who's Your Little Whoosis?", "I Can't Believe It's True", "Holding My Honey's Hand", "A Bowl of Chop Suey and Yooey", "After The Dance Was Over", "Was Last Night The Last Night?", "Ain't That Marvelous (My Baby Loves Me)", and "Strange Interlude".- Actress
- Soundtrack
Claire Trevor was born Claire Wemlinger in the Bensonhurst section of Brooklyn, New York, the only child of Fifth Avenue merchant-tailor Noel Wemlinger, an immigrant Frenchman from Paris who lost his business during the Depression, and his Belfast-born wife, Benjamina, known as "Betty". Young Claire's interest in acting began when she was 11 years old. She attended high school in Mamaroneck, Westchester County, New York. After starting classes at Columbia University, she spent six months at the American Academy of Dramatic Arts, also in New York. Her adult acting experience began in the late 1920s in several stock productions; she appeared with Robert Henderson's Repertory Players in Ann Arbor, Michigan in 1930. That same year, aged 20, she signed with Warner Bros. Not too far from her home haunts was Vitagraph Studios in Brooklyn, the last and best of the early sound process studios, which had been acquired by Warner Bros. in 1925 to become Vitaphone. Trevor appeared in several of the nearly 2000 shorts cranked out by the studio between 1926 and 1930. Then she was sent west to do ten weeks of stock productions with other contract players in St. Louis. In 1931 she did summer stock with the Hampton Players in Southampton, Long Island. Finally, she debuted on Broadway in 1932 in "Whistling in the Dark".
Trevor moved to the silver screen, debuting in the western Life in the Raw (1933). There would be three more films (one more western) that year and six or more through the 1930s. Although she had been typed playing gun molls and hard-case women of the world, she displayed her already considerable versatility in these early films, often playing competent, take-charge professional women as well as "shady" ladies. There was a disappointed-pout-vulnerability in her face and that famous slightly New York-burred voice that cracked with a little cry when heightened by emotion that quickly revealed an unusual and sensitive performer. Many of her early films were "B" potboilers, but she worked with Spencer Tracy on several occasions, notably Dante's Inferno (1935).
Hollywood finally took notice of her talents by nominating her for a Best Supporting Actress Oscar for her standout performance as a slum girl forced by poverty into prostitution in Dead End (1937), opposite Humphrey Bogart. That same year she did the radio drama "Big Town" with Edward G. Robinson, then teamed with he and Bogart again for the slightly hokey but entertaining The Amazing Dr. Clitterhouse (1938). Director John Ford tapped her for his first big sound Western film, Stagecoach (1939), the film that made a star of John Wayne. All her abilities to bring complexity to a character showed in her kicked-around dance hall girl "Dallas", one of the great early female roles. She and Wayne were electric, and they were paired in three more films during their careers.
In the 1940s, Trevor began appearing in the genre that brought her to true stardom: "film noir". She started in a big way as killer Ruth Dillon in Street of Chance (1942) with Burgess Meredith. She was equally convincing as the more complex but nonetheless two-faced Mrs. Grayle in the Philip Marlowe vehicle Murder, My Sweet (1944). However, she was something very different and quite extraordinary as washed-up, hopelessly alcoholic former nightclub singer and moll Gaye Dawn in Key Largo (1948), for which she won an Academy Award as Best Supporting Actress, again working with Bogart and Robinson. Her pitiful rendition of the torch song "Moanin' Low", which her character was forced to sing, humiliatingly, for the sadistic crime boss played by Robinson (to whom she is, figuratively speaking, permanently tethered) in exchange for a desperately needed drink. There were more quality movies and an additional Academy nomination (The High and the Mighty (1954)) into the 1950s,, but she also was doing work on stage and in television.
She was enthusiastic about live TV and appeared on several famous shows by the mid-1950s. She won an Emmy for Best Live Television Performance by an Actress as the flighty wife of Fredric March in NBC's Dodsworth (1956). She alternated her career among film, stage and TV roles. As she aged she easily transitioned into "distinguished matron" and mother roles, one of her most unusual ones being the murderous Ma Barker in Ma Barker and Her Boys (1959). Her final film role was as Sally Field's mother in Kiss Me Goodbye (1982).
Trevor and her third husband, producer Milton H. Bren, had long been residents of tony Newport Beach, California, to which they returned when she finally retired from screen work. However, she did maintain an active interest in stage work, and became associated with the University of California-Irvine's School of Arts. She and her husband contributed some $10 million to further its development for the visual and performing arts (that included three endowed professorships). After her passing in April 2000 at 90 years of age, the University renamed the school The Claire Trevor School of the Arts. Her presence on the UCI campus is in more than spirit alone. She donated her Oscar and her Emmy to UCI; both are on display in the arts plaza at the campus theatre that bears her name.- Clark Andrews was born on 21 November 1908. He was a writer, known for Manhattan Heartbeat (1940) and Pier 13 (1940). He was married to Claire Trevor. He died on 18 January 1985 in Los Angeles, California, USA.
- Actress
- Additional Crew
- Producer
Originally a dance instructor, she came to Broadway during the Depression to begin her career as a professional actress. A daughter of Texas, she originally began work as a dance instructor until a local evangelical-adherent burned down her studio citing her work as being too sinful for human nature. Coming to New York City, she appeared on Broadway introducing the song "My Heart Belongs to Daddy". She later made a name for herself in several Hollywood musicals during the 1940s and later in her career enjoyed huge success as Peter Pan, which she cited as her favorite role.- Producer
- Additional Crew
Richard Halliday was born on 3 April 1905 in Denver, Colorado, USA. He was a producer, known for The Sound of Music (1965), Peter Pan (1955) and Annie Get Your Gun (1957). He was married to Mary Martin. He died on 3 March 1973 in Brasília, Distrito Federal, Brazil.- Actress
- Soundtrack
Jean Parker was born Lois Mae Green in 1915. Her father was Lewis Green, a gunsmith and hunter, and her mother was Pearl Melvina Burch (later known professionally as Mildred Brenner), one of 18 children of a pioneer family that came to Montana from Missouri and Iowa. Jean's maternal grandfather was a Presbyterian minister.
Parker was an accomplished gymnast and dancer, and was adopted by the Spickard family of Pasadena during her formative years when both her father and mother were unemployed during the Great Depression. As Lois Green, she entered a poster-painting contest and won for portraying Father Time. Ida Koverman, assistant to MGM studio chief Louis B. Mayer, heard that a pretty teenage girl had won the contest; she contacted the would-be starlet, and had Mayer offer her an MGM contract.
Parker made several important films in her career, including The Ghost Goes West (1935) with Robert Donat; Sequoia (1934) with Russell Hardie, shot in the Sequoia National Forest near Springville, California; Little Women (1933) with Joan Bennett and Katharine Hepburn; Operator 13 (1934) with Marion Davies; and many other films.
After several successful cross-country trips entertaining injured servicemen during World War II, Parker wed and divorced Curt Grotter of the Braille Institute in Los Angeles; and moved on to New York to star in the play "Loco". She also starred on Broadway in "Burlesque" with Bert Lahr, and in the hit "Born Yesterday", filling in for Judy Holliday. Parker's fourth and last husband, actor Robert Lowery, played opposite her as Brock in the play for a short stint. By this marriage, Parker bore her only child, a son, Robert Lowery Hanks.
Parker died on November 30, 2005 at the Motion Picture Country Home and Hospital in Woodland Hills, California, aged 90, from a stroke. She was survived by her son and two granddaughters, Katie and Nora Hanks.- Second Unit Director or Assistant Director
- Writer
Douglas Dawson was born on 29 October 1885 in Canada. He was an assistant director and writer, known for The Snowshoe Trail (1922), A Regular Scout (1926) and Shipwrecked (1926). He died on 13 December 1942 in Los Angeles, California, USA.- Actress
- Soundtrack
Dark-haired beauty Jeanne Carolyn Cagney was born in New York City, New York on March 25, 1919 - just a few months after the end of World War I. She and her four brothers - including James Cagney and William Cagney - were raised by her widowed mother. Jeanne majored in French and German during her years at Hunter College High School, and starred in plays produced by the Hunter College of City College of New York. Upon graduating from college, she studied acting at the Pasadena Playhouse in California.
She began her movie career in 1939, with a role in the obscure comedy All Women Have Secrets (1939). This succeeded an appearance on Bing Crosby's radio program. However, she did not become known until three years later, when she acted in the highly-acclaimed biographical musical Yankee Doodle Dandy (1942) alongside her brother, James (who won an Academy Award for his performance as George M. Cohan). Regrettably, Jeanne only made sporadic appearances in film and television until her retirement from acting in 1965. Notable movies include Quicksand (1950) - in which she played a femme fatale - and the Marilyn Monroe thriller Don't Bother to Knock (1952). Jeanne also made three more films with her brother James (The Time of Your Life (1948), A Lion Is in the Streets (1953), and Man of a Thousand Faces (1957)), and, in 1948, appeared on stage in a production of 'The Iceman Cometh'.
Jeanne was married to actor Ross Latimer from 1944 to 1952. She later wed Jack Sherman Morrison, a faculty member in theater arts at UCLA, in 1953, with whom she had two daughters: Mary and Terry. Jeanne and Morrison ended their marriage in 1973.
Jeanne Cagney was sadly diagnosed with lung cancer later on in her life, and died of the disease on December 7, 1984. She was 65. While not a household name, Ms. Cagney is remembered today among modern-day aficionados of 1940s and 1950s cinema.- Animation Department
- Director
- Writer
Art Babbitt (born Arthur Harold Babitsky) was an American animator and animation director from Omaha, Nebraska. He worked in several animation studios over his long career, but is mostly remembered for his early work for the Walt Disney Animation Studios. During the 1930s, Babbitt redesigned and developed the character of Goofy. In his view, Goofy was a composite character: "a composite of an everlasting optimist, a gullible Good Samaritan, a half-wit, a shiftless, good-natured hick". Babbitt was credited as the main animator for the Evil Queen in "Snow White and the Seven Dwarfs" (1937), and for Geppetto in "Pinocchio" (1940).
In 1907, Babbitt was born to a Jewish family in Little Bohemia, Omaha. It was a neighborhood of Omaha which had a large population of Czech emigrants from Austria-Hungary since the 1880s. By the time he finished kindergarten, his family decided to move to Sioux City, Iowa. His father was paralyzed in an accident at work, forcing Babbitt to become a breadwinner at an early age.
In the late 1920s, Babbitt had decided to follow the career of an animator. At the time, the industry was providing career opportunities for hopeful young artists. In 1929, Babbitt was among the first animators hired by a new animation studio, Terrytoons (1929-1973). The studio had been established by experienced animator Paul Terry, and its headquarters were located in Long Island, New York.
In 1932, Babbitt applied for a job at the Walt Disney Animation Studios in Los Angeles. The studio was more prestigious than Terrytoons, and was reputed to offer better salaries for its top talents. Babbitt was initially hired as an assistant animator, but was soon promoted to a regular animator in recognition of his talents. He was put to work in animated short films, helping animate characters such as Mickey Mouse, Pluto, and the Big Bad Wolf.
When the studio started working on its first animated feature film, "Snow White and the Seven Dwarfs" , Babbitt was entrusted with animating the Evil Queen. It was one of the toughest assignments on the film, as the character was not rotoscoped (unlike several of the others). There was an effort to make the character "regally beautiful", to have her movements be graceful, and for her emotions to be primarily expressed through her lovely mouth and eyes. Babbitt and his assistants reportedly produced enough drawings of the Queen to fill a paper house.
His efforts on the feature film were rewarded with a salary increase. Babbitt was one of the highest-paying jobs in the studio. For the first time in his life, he could afford a large house, three cars, and two servants. At about this time, Babbit married his first wife. She was the actress and dancer Marge Champion (1919-2020). She had been hired as a dance model for "Snow White and the Seven Dwarfs", and had impressed Babbitt. Their marriage only lasted to 1940, ending in divorce.
During the late 1930s, Babbitt worked on two other feature films "Pinocchio" and "Fantasia". He animated Geppetto in "Pinocchio", the protagonist's father. He also designed several characters for two segments of Fantasia: "The Nutcracker Suite" and "The Pastoral Symphony". Among his creations were Disney's versions of the gods Zeus, Vulcan, and Boreas.
In 1941, came the Disney animators' strike. Many of the studio's animators wanted to unionize in order to achieve better working conditions. Babbitt became one of the strike's leaders, though he was primarily campaigning for the rights of others and not his own self-interest. At one point, Babbitt and studio head Walt Disney nearly had a fist fight over a verbal insult. Studio staff intervened to stop them.
Following the strike, Babbitt and Walt Disney continued working together for a while, despite their mutual distrust and hostility. Babbitt found a friendlier working environment at his next employer, Warner Bros. Cartoons. His career was interrupted for a few years by military service in the Pacific War. In the post-war years, Babbitt was among the early staff of the animation studio United Productions of America (UPA, 1941-2000). The studio had been established by former Disney personnel, and Babbitt found himself working alongside former colleagues.
UPA was noted for its "very flat" and stylized designs, in contrast with Disney's style. They were considered as one of the most innovative animated studios of the late 1940s and early 1950s. Babbitt worked on several of their award-winning shorts until 1955. He subsequently acquired partial ownership of Quartet Films, a studio primarily working on television commercials.
Over the following decades, Babbitt rarely worked on theatrical films. But he was eventually hired by animator Richard Williams (1933-2019) to serve as the lead animator for the unfinished feature film "The Thief and the Cobbler". Babbitt designed several of the film's characters. The film was in production from 1964 until 1993, and was eventually released in a partially finished form. Babbitt did not live long enough to finish the film or to see it released. During that film's production, Babbitt also provided some character animation for "Raggedy Ann & Andy: A Musical Adventure" (1977).
In the early 1990s, Babbitt was invited by executive Roy E. Disney (Walt's nephew) to reconcile himself with Disney and its staff. Babbitt had reunions with his former rivals Frank Thomas and Ollie Johnston. He died in March 1992, at the age of 84. He was buried at the Forest Lawn Memorial Park, located in Hollywood Hills. Babbitt was posthumously named a Disney Legend in 2007. A small collection of Babbitt's personal films and home movies was eventually acquired by the Academy Film Archive. Babbitt is long gone, but continues to have a high reputation among animation historians and fans of American animation.- Frances Howard was born on 4 June 1903 in Omaha, Nebraska, USA. She was an actress, known for Too Many Kisses (1925), The Shock Punch (1925) and The Swan (1925). She was married to Samuel Goldwyn. She died on 2 July 1976 in Beverly Hills, Los Angeles, California, USA.
- Actor
- Producer
- Soundtrack
"America's Boyfriend" Buddy Rogers was born in Olathe Kansas and became a talented musician on several instruments. He began acting in Hollywood in the 1920's and is probably best remembered as Clara Bow's love interest in "Wings". He also made several appearances in the "Mexican Spitfire" series with Lupe Velez, as well as being the nominal bandleader for several radio shows. He was married to Mary Pickford for forty-two years, until her death, and adopted two children. He appeared as a secondary character in scores of movies, and later became a frequent guest star on TV. Rogers died at age ninety-two in California. NOTE: The Charles Rogers whose biography also appears in this section is that of "Charley Rogers" a comedian and gagman for Hal Roach in the '20's and '30's. He is not the same Charles Rogers whose information is listed here.- Producer
- Additional Crew
- Director
Sol Lesser entered the film industry as an exhibitor and the owner of a chain of movie theaters. His first "production" had an interesting story behind it. In 1915, while he was living in San Francisco, he learned that the authorities were about to clean out and close down the city's notorious Barbary Coast district, a raucous area of gambling houses, saloons and brothels. He grabbed a camera and a friend (future Hollywood cameraman Hal Mohr) and roamed all over the district, shooting footage of some of the area's best-known establishments before they were shut down. After the film was put together he titled it Last Night of the Barbary Coast (1913), sold it to theaters himself and made a bundle on it. Using that money, he began buying up theaters and soon had his own chain. Going into film production full-time in the 1930s with his own company, Principal Pictures Corp., he concentrated mainly on low-budget westerns and Tarzan pictures. He joined RKO in 1941 as executive in charge of feature production.- Writer
- Producer
- Script and Continuity Department
Virginia Van Upp was a producer and screenwriter who worked her way up in the film industry after having been a script reader, script editor, casting director, and agent. She was married with one child when she was named Executive Producer of Columbia Pictures by Harry Cohn in 1945. A woman would not hold this post again for another thirty-one years.- Actress
- Producer
- Additional Crew
Hedy Lamarr, the woman many critics and fans alike regard as the most beautiful ever to appear in films, was born Hedwig Eva Maria Kiesler in Vienna, Austria. She was the daughter of Gertrud (Lichtwitz), from Budapest, and Emil Kiesler, a banker from Lemberg (now known as Lviv). Her parents were both from Jewish families. Hedwig had a calm childhood, but it was cinema that fascinated her. By the time she was a teenager, she decided to drop out of school and seek fame as an actress, and was a student of theater director Max Reinhardt in Berlin. Her first role was a bit part in the German film Geld auf der Straße (1930) (aka "Money on the Street") in 1930. She was attractive and talented enough to be in three more German productions in 1931, but it would be her fifth film that catapulted her to worldwide fame. In 1932 she appeared in a Czech film called Ekstase (US title: "Ecstasy") and had made the gutsy move to appear nude. It's the story of a young girl who is married to a gentleman much older than she, but she winds up falling in love with a young soldier. The film's nude scenes created a sensation all over the world. The scenes, very tame by today's standards, caused the film to be banned by the U.S. government at the time.
Hedy soon married Fritz Mandl, a munitions manufacturer and a prominent Austrofascist. He attempted to buy up all the prints of "Ecstasy" he could lay his hands on (Italy's dictator, Benito Mussolini, had a copy but refused to sell it to Mandl), but to no avail (there are prints floating around the world today). The notoriety of the film brought Hollywood to her door. She was brought to the attention of MGM mogul Louis B. Mayer, who signed her to a contract (a notorious prude when it came to his studio's films, Mayer signed her against his better judgment, but the money he knew her notoriety would bring in to the studio overrode any moral concerns he may have had). However, he insisted she change her name and make good, wholesome films.
Hedy starred in a series of exotic adventure epics. She made her American film debut as Gaby in Algiers (1938). This was followed a year later by Lady of the Tropics (1939). In 1942, she played the plum role of Tondelayo in the classic White Cargo (1942). After World War II, her career began to decline, and MGM decided it would be in the interest of all concerned if her contract were not renewed. Unfortunately for Hedy, she turned down the leads in both Gaslight (1940) and Casablanca (1942), both of which would have cemented her standing in the minds of the American public. In 1949, she starred as Delilah opposite Victor Mature's Samson in Cecil B. DeMille's epic Samson and Delilah (1949). This proved to be Paramount Pictures' then most profitable movie to date, bringing in $12 million in rental from theaters. The film's success led to more parts, but it was not enough to ease her financial crunch. She made only six more films between 1949 and 1957, the last being The Female Animal (1958).
Hedy retired to Florida. She died there, in the city of Casselberry, on January 19, 2000.- Actor
- Soundtrack
Spencer Tracy was the second son born on April 5, 1900, to truck salesman John Edward and Caroline Brown Tracy in Milwaukee, Wisconsin. While attending Marquette Academy, he and classmate Pat O'Brien quit school to enlist in the Navy at the start of World War I. Tracy was still at Norfolk Navy Yard in Virginia at the end of the war. After playing the lead in the play "The Truth" at Ripon College he decided that acting might be his career.
Moving to New York, Tracy and O'Brien, who'd also settled on a career on the stage, roomed together while attending the Academy of Dramatic Arts. In 1923 both got nonspeaking parts as robots in "R.U.R.", a dramatization of the groundbreaking science fiction novel by Czech author Karel Capek. Making very little money in stock, Tracy supported himself with jobs as bellhop, janitor and salesman until John Ford saw his critically acclaimed performance in the lead role in the play "The Last Mile" (later played on film by Clark Gable) and signed him for The William Fox Film Company's production of Up the River (1930). Despite appearing in sixteen films at that studio over the next five years, Tracy was never able to rise to full film star status there, in large part because the studio was unable to match his talents to suitable story material.
During that period the studio itself floundered, eventually merging with Darryl F. Zanuck, Joseph Schenck and William Goetz's William 20th Century Pictures to become 20th Century-Fox). In 1935 Tracy signed with MGM under the aegis of Irving Thalberg and his career flourished. He became the first actor to win back-to-back Best Actor Oscars for Captains Courageous (1937) and, in a project he initially didn't want to star in, Boys Town (1938).
During Tracy's nearly forty-year film career, he was nominated for his performances in San Francisco (1936), Father of the Bride (1950), Bad Day at Black Rock (1955), The Old Man and the Sea (1958), Inherit the Wind (1960), Judgment at Nuremberg (1961), and Guess Who's Coming to Dinner (1967).
Tracy had a brief romantic relationship with Loretta Young in the mid-1930s, and a lifelong one with Katharine Hepburn beginning in 1942 after they were first paired in Woman of the Year by director George Stevens. Tracy's strong Roman Catholic beliefs precluded his divorcing wife Louise, though they mostly lived apart. Tracy suffered from severe alcoholism and diabetes (from the late 1940s), which led to his declining several tailor-made roles in films that would become big hits with other actors in those roles. Although his drinking problems were well known, he was considered peerless among his colleagues (Tracy had a well-deserved reputation for keeping co-stars on their toes for his oddly endearing scene-stealing tricks), and remained in demand as a senior statesman who nevertheless retained box office clout. Two weeks after completion of Stanley Kramer's Guess Who's Coming to Dinner (1967), during which he suffered from lung congestion, Spencer Tracy died of a heart attack.- Actress
- Soundtrack
In addition to being Miss New Orleans in 1931, Dorothy Lamour worked as a Chicago elevator operator; band vocalist for her first husband, band leader Herbie Kaye; and radio performer. In 1936 she donned her soon-to-be-famous sarong for her debut at Paramount, The Jungle Princess (1936), and continued to play female Tarzan-Crusoe-Gauguin-girl-with make-up parts through the war years and beyond. The most famous of these was in the popular Bob Hope/Bing Crosby "Road" pictures - a strange combination of adventure, slapstick, ad-libs and Hollywood inside jokes. Of these she said, "I was the happiest and highest-paid straight woman in the business." As she aged, however, the quality of her films dropped. Among her serious films were Johnny Apollo (1940) and A Medal for Benny (1945).- Actress
- Soundtrack
Linda Ware was born on 29 May 1925 in Tarentum, Pennsylvania, USA. She was an actress, known for Paper Bullets (1941) and The Star Maker (1939). She died in September 1975 in Las Vegas, Nevada, USA.- Actress
- Soundtrack
Jean Parker was born Lois Mae Green in 1915. Her father was Lewis Green, a gunsmith and hunter, and her mother was Pearl Melvina Burch (later known professionally as Mildred Brenner), one of 18 children of a pioneer family that came to Montana from Missouri and Iowa. Jean's maternal grandfather was a Presbyterian minister.
Parker was an accomplished gymnast and dancer, and was adopted by the Spickard family of Pasadena during her formative years when both her father and mother were unemployed during the Great Depression. As Lois Green, she entered a poster-painting contest and won for portraying Father Time. Ida Koverman, assistant to MGM studio chief Louis B. Mayer, heard that a pretty teenage girl had won the contest; she contacted the would-be starlet, and had Mayer offer her an MGM contract.
Parker made several important films in her career, including The Ghost Goes West (1935) with Robert Donat; Sequoia (1934) with Russell Hardie, shot in the Sequoia National Forest near Springville, California; Little Women (1933) with Joan Bennett and Katharine Hepburn; Operator 13 (1934) with Marion Davies; and many other films.
After several successful cross-country trips entertaining injured servicemen during World War II, Parker wed and divorced Curt Grotter of the Braille Institute in Los Angeles; and moved on to New York to star in the play "Loco". She also starred on Broadway in "Burlesque" with Bert Lahr, and in the hit "Born Yesterday", filling in for Judy Holliday. Parker's fourth and last husband, actor Robert Lowery, played opposite her as Brock in the play for a short stint. By this marriage, Parker bore her only child, a son, Robert Lowery Hanks.
Parker died on November 30, 2005 at the Motion Picture Country Home and Hospital in Woodland Hills, California, aged 90, from a stroke. She was survived by her son and two granddaughters, Katie and Nora Hanks.