My Favorite Actress (born before '60)
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Ingrid Bergman was one of the greatest actresses from Hollywood's lamented Golden Era. Her natural and unpretentious beauty and her immense acting talent made her one of the most celebrated figures in the history of American cinema. Bergman is also one of the most Oscar-awarded actresses, tied with Meryl Streep and Frances McDormand, all three of them second only to Katharine Hepburn.
Ingrid Bergman was born on August 29, 1915 in Stockholm, Sweden, to a German mother, Frieda Henrietta (Adler), and a Swedish father, Justus Samuel Bergman, an artist and photographer. Her mother died when she was only two and her father died when she was 12. She went to live with an elderly uncle.
The woman who would be one of the top stars in Hollywood in the 1940s had decided to become an actress after finishing her formal schooling. She had had a taste of acting at age 17 when she played an uncredited role of a girl standing in line in the Swedish film Landskamp (1932) in 1932 - not much of a beginning for a girl who would be known as "Sweden's illustrious gift to Hollywood." Her parents died when she was just a girl and the uncle she lived with didn't want to stand in the way of Ingrid's dream. The next year she enrolled at the Royal Dramatic Theatre School in Stockholm but decided that stage acting was not for her. It would be three more years before she would have another chance at a film. When she did, it was more than just a bit part. The film in question was The Count of the Old Town (1935), where she had a speaking part as Elsa Edlund. After several films that year that established her as a class actress, Ingrid appeared in Intermezzo (1936) as Anita Hoffman. Luckily for her, American producer David O. Selznick saw it and sent a representative from Selznick International Pictures to gain rights to the story and have Ingrid signed to a contract. Once signed, she came to California and starred in United Artists' 1939 remake of her 1936 film, Intermezzo (1939), reprising her original role. The film was a hit and so was Ingrid.
Her beauty was unlike anything the movie industry had seen before and her acting was superb. Hollywood was about to find out that they had the most versatile actress the industry had ever seen. Here was a woman who truly cared about the craft she represented. The public fell in love with her. Ingrid was under contract to go back to Sweden to film Only One Night (1939) in 1939 and June Night (1940) in 1940. Back in the US she appeared in three films, all well-received. She made only one film in 1942, but it was the classic Casablanca (1942) opposite Humphrey Bogart.
Ingrid was choosing her roles well. In 1943 she was nominated for an Academy Award for her role in For Whom the Bell Tolls (1943), the only film she made that year. The critics and public didn't forget her when she made Gaslight (1944) the following year--her role of Paula Alquist got her the Oscar for Best Actress. In 1945 Ingrid played in Spellbound (1945), Saratoga Trunk (1945) and The Bells of St. Mary's (1945), for which she received her third Oscar nomination for her role of Sister Benedict. She made no films in 1947, but bounced back with a fourth nomination for Joan of Arc (1948). In 1949 she went to Italy to film Stromboli (1950), directed by Roberto Rossellini. She fell in love with him and left her husband, Dr. Peter Lindstrom, and daughter, Pia Lindström. America's "moral guardians" in the press and the pulpits were outraged. She was pregnant and decided to remain in Italy, where her son was born. In 1952 Ingrid had twins, Isotta and Isabella Rossellini, who became an outstanding actress in her own right, as did Pia.
Ingrid continued to make films in Italy and finally returned to Hollywood in 1956 in the title role in Anastasia (1956), which was filmed in England. For this she won her second Academy Award. She had scarcely missed a beat. Ingrid continued to bounce between Europe and the US making movies, and fine ones at that. A film with Ingrid Bergman was sure to be a quality production. In her final big-screen performance in 1978's Autumn Sonata (1978) she had her final Academy Award nomination. Though she didn't win, many felt it was the most sterling performance of her career. Ingrid retired, but not before she gave an outstanding performance in the mini-series A Woman Called Golda (1982), a film about Israeli prime minister Golda Meir. For this she won an Emmy Award as Best Actress, but, unfortunately, she did not live to see the fruits of her labor.
Ingrid died from cancer on August 29, 1982, her 67th birthday, in London, England.1- Actress
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Like many other female Italian film stars, Claudia Cardinale's entry into the business was by way of a beauty pageant. She was 17 years old and studying at the Centro Sperimentale in Rome when she entered a beauty contest, which resulted in her getting a succession of small film roles. Her earthy interpretations of Sicilian women got her noticed by Italian producers, and the combination of her beauty, dark, flashing eyes, explosive sexuality and genuine acting talent virtually guaranteed her stardom. After Careless (1962) she rose to the front ranks of Italian cinema, and became an international star in Federico Fellini's classic 8½ (1963) with Marcello Mastroianni. American audiences may best remember her from her starring role in Sergio Leone's Once Upon a Time in the West (1968).1- Actress
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- Writer
After acting studies at the Gothenburg City Theatre from 1950-52, she made her breakthrough debut in Gustaf Molander's Kärlek (1952). When Ingmar Bergman became head of the Malmö City Theatre he asked her to join him there and with him as a director she played the role of Margareta in Goethe's 'Faust'. Bergman also gave her supporting roles in his movies, most notably the mute woman in The Seventh Seal (1957). She followed up on a few offers from abroad but the roles wasted her screen presence. Bergman once again gave her an offer she couldn't refuse, to direct a movie. Paradistorg (1977) received a lot of praise from all over the world. Time Magazine considered it one of the four best non-US movies of 1978. Her appearances in movies has been rare but she gave a wonderful appearance in the children's TV show Kaspar i Nudådalen (2001). Lindblom has for many years worked for The Royal Dramatic Theatre, appearing in plays by August Strindberg or William Shakespeare. In 2002 she received a Guldbagge award for her lifetime achievements in movies.1- Actress
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Lead icon of the influential New German Cinema of the 70's & 80's, Schygulla's natural blonde beauty and amazing versatility keep her among the world's top actresses. She won best actress at Cannes in 1983 for The Story of Piera (1983) (aka "The Story of Piera"), an Italian/German co-production. The Turkish/German co-production, The Edge of Heaven (2007) (aka "The Edge of Heaven"), won the 2007 Cannes award for best screenplay. The now silver-haired actress appears to have shunned plastic surgery.
One of many protégés of Rainer Werner Fassbinder, who gave Schygulla especially tender treatment and nurturing, while he terrorized, manipulated, and slept with many of the other actors and filmmakers Fassbinder developed in his incestuous family-like theatrical and film troupes.
Over 12 years, Hanna Schygulla appeared in 23 Fassbinder movies (including his first feature film), the most-acclaimed being The Marriage of Maria Braun (1979) (aka "The Marriage of Maria Braun") (for which she won the Silver Bear), Lili Marleen (1981) and Berlin Alexanderplatz (1980). After a disagreement with Fassbinder, she did not appear in his final 4 movies. Their mentor/muse relationship is often favorably compared with that of Josef von Sternberg and Marlene Dietrich. Schygulla met Fassbinder while she was studying romance languages and taking acting lessons in Munich, then became a member of his collective theatre troupe, "Munich Action Theatre", which eventually evolved into his film group.
After Fassbinder's 1982 death, she appeared in a few commercial films, and when she does act now, concentrates on complex roles in films with unique, international social messages. Her better known non-Fassbinder movies include Kenneth Branagh's Dead Again (1991), Casanova (1987) (with Faye Dunaway), Andrzej Wajda's A Love in Germany (1983) (aka "A Love in Germany") and Margarethe von Trotta's Sheer Madness (1983) (aka "Sheer Madness"). She's renowned for portraying strong, sensual women, and her language ability enables her to appear in films produced by many countries. Her singing was featured in Lili Marleen (1981) and Sheer Madness (1983) (aka "Sheer Madness"). Since 1997, she has turned away from movie acting, primarily to chanson singing, recording CDs, appearing in the movie, Hanna Schygulla Sings (1999) and, in 2007, a one-woman autobiographical musical (including songs of Janis Joplin, Édith Piaf, Billie Holiday, Brecht). She was the lead and sang in a live Vanessa Beecroft conceptual art piece in a German castle, with Fassbinder's long-time associate, Irm Hermann, plus 23 other women. Schygulla has worked on producing films about Berlin's Holocaust memorial, and about her work with Fassbinder.
Many of Fassbinder's film plots reflect his bizarre working relations with cast and crew, and he often reserved the most glamorous costumes and dramatic roles for Hanna Schygulla, intentionally pressuring his other talented actresses, such as his feisty ex-wife Ingrid Caven, and the abused Irm Hermann. The extremely tense relationships in the all-female The Bitter Tears of Petra von Kant (1972) (aka "Bitter Tears of Petra Von Kant") somewhat reflect real-life interactions of Hermann, Schygulla (both are in the movie), Fassbinder, and his mother.
Hann Schygulla's childhood family situation somewhat parallels her role, typifying Germany's moral dilemmas at the end of World War II, in The Marriage of Maria Braun (1979) (aka "The Marriage of Maria Braun"). Schygulla was born on Christmas Day 1943, in Kattowice, Upper Silesia (then a section of Poland annexed by the Third Reich). Her German father was an infantryman in Italy, who was in a POW camp until she was 5. After the war, the German population was expelled from the Kattowice area.1- Actress
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Romy Schneider was born on 23 September 1938 in Vienna, Austria into a family of actors. Making her film debut at the age of 15, her breakthrough came two years later in the very popular trilogy Sissi (1955). Her mother, supervising her daughter's career, immediately approved Romy's participation in Christine (1958), the remake of Max Ophüls's Playing at Love (1933), where Magda Schneider once starred herself. During the shooting, she fell in love with her co-star Alain Delon and eventually moved with him to Paris. At that time, she started her international career collaborating with famous directors such as Luchino Visconti and Orson Welles. After Delon had broken up with her in 1964, she married Harry Meyen shortly after. Although she gave birth to a boy, David-Christopher, their relationship was difficult, so they divorced in 1975. Being unsatisfied with her personal life, she turned to alcohol and drugs, but her cinematic career -especially in France- remained intact. She was the first actress, receiving the new created César Award as "Best Actress" for her role in That Most Important Thing: Love (1975). Three years later, she was awarded again for A Simple Story (1978). After a short marriage to her former secretary Daniel Biasini, being the father of her daughter Sarah Biasini, she suffered the hardest blow of her life when her son was impaled on a fence in 1981. She never managed to recover from this loss and died on 29 May 1982 in Paris. Although it was suggested she committed suicide caused by an overdose of sleeping pills, she was declared to have died from cardiac arrest.2- Actress
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The lovely Susannah York, a gamine, blue-eyed, cropped-blonde British actress, displayed a certain crossover star quality when she dared upon the Hollywood scene in the early 1960s. A purposefully intriguing, enigmatic and noticeably uninhibited talent, she was born Susannah Yolande Fletcher on January 9, 1939 in Chelsea, London, but raised in a remote village in Scotland. Her parents divorced when she was around 6. Attending Marr College, she trained for acting at London's Royal Academy of Dramatic Art, winning the Ronson Award for most promising student. She then performed classical repertory and pantomime in her early professional career.
Making an impression on television in 1959 opposite Sean Connery in a production of "The Crucible" as Abigail Williams to his John Proctor, the moon-faced beauty progressed immediately to ingénue film roles, making her debut as the daughter of Alec Guinness in the classic war drama Tunes of Glory (1960). She emerged quickly as a worthy co-star with the sensitively handled coming-of age drama Loss of Innocence (1961), the more complex psychodrama Freud (1962), as a patient to Montgomery Clift's famed psychoanalyst, and the bawdy and robust 18th century tale Tom Jones (1963), with Susannah portraying the brazenly seductive Sophie, one of many damsels lusting after the bed-hopping title rogue Albert Finney.
Susannah continued famously both here and in England in both contemporary and period drama opposite the likes of Warren Beatty, William Holden, Paul Scofield and Dirk Bogarde. Susannah was a new breed. Free-spirited and unreserved, she had no trouble at all courting controversy in some of the film roles she went on to play. She gained special notoriety as the child-like Alice in her stark, nude clinches with severe-looking executive Coral Browne in the lesbian drama The Killing of Sister George (1968). A few years later, she and Elizabeth Taylor traveled similar territory with X, Y & Zee (1972).
Award committees also began favoring her; she won the BAFTA film award as well as Oscar and Golden Globe nominations for her delusional Jean Harlow-like dance marathon participant in the grueling Depression-era film They Shoot Horses, Don't They? (1969). Her crazy scene in the shower with Oscar-winner Gig Young was particularly gripping and just one of many highlights in the acclaimed film. She also copped a Cannes Film Festival award for her performance in Images (1972) playing another troubled character barely coping with reality. On television, she was Emmy-nominated for her beautifully nuanced Jane Eyre (1970) opposite George C. Scott's Rochester.
Susannah's film career started to lose ground into the 1970s as she continued her pursuit of challengingly offbeat roles as opposed to popular mainstream work. The film adaptations of Kurt Vonnegut Jr.'s Happy Birthday, Wanda June (1971) opposite Rod Steiger and Jean Genet's The Maids (1975) with Glenda Jackson were not well-received. Her performances in such films as Gold (1974), Conduct Unbecoming (1975) which starred another famous York (Michael York), That Lucky Touch (1975), Sky Riders (1976) and The Shout (1978) were overlooked, as were the films themselves. In the one highly popular movie series she appeared in, the box-office smashes Superman (1978) and its sequel Superman II (1980), she had literally nothing to do as Lara, the wife of Marlon Brando's Jor-El and birth mother of the superhero. While the actress continued to pour out a number of quality work assignments in films and television, she failed to recapture her earlier star glow.
Wisely, Susannah began extending her talents outside the realm of film acting. Marrying writer Michael Wells in 1960, she focused on her personal life, raising their two children for a time. The couple divorced in 1980. In the 1970s, she wrote the children's books "In Search of Unicorns" and "Lark's Castle". She also found time to direct on stage and wrote the screenplay to one of her film vehicles Falling in Love Again (1980). On stage Susannah performed in such one-woman shows as "Independent State", 'Picasso's Women", "The Human Voice" and "The Loves of Shakespeare's Women", while entertaining such wide and varied theatre challenges as "Peter Pan" (title role), "Hamlet" (as Gertrude), "Camino Real", "The Merry Wives of Windsor", "A Streetcar Named Desire", "Private Lives", "Agnes of God" and the title role in "Amy's View".
At the age of 67, Susannah showed up once again on film with a delightful cameo role in The Gigolos (2006), and seemed ripe for a major comeback, perhaps in a similar vein to the legendary Judi Dench, Maggie Smith and Helen Mirren. Sadly, it was not to be. Diagnosed with bone marrow cancer, the actress died on January 15, 2011, six days after her 72nd birthday. Her final films, Franklyn (2008) and The Calling (2009), proved that she still possessed the magnetism of her earlier years.2- Actress
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In America, the early performing arts accomplishments of young Maureen FitzSimons (who we know as Maureen O'Hara) would definitely have put her in the child prodigy category. However, for a child of Irish heritage surrounded by gifted parents and family, these were very natural traits. Maureen made her entrance into this caring haven on August 17, 1920, in Ranelagh (a suburb of Dublin), Ireland. Her mother, Marguerita Lilburn FitzSimons, was an accomplished contralto. Her father, Charles FitzSimons, managed a business in Dublin and also owned part of the renowned Irish soccer team "The Shamrock Rovers." Maureen was the second of six FitzSimons children - Peggy, Florrie, Charles B. Fitzsimons, Margot Fitzsimons and James O'Hara completed this beautiful family.
Maureen loved playing rough athletic games as a child and excelled in sports. She combined this interest with an equally natural gift for performing. This was demonstrated by her winning pretty much every Feis award for drama and theatrical performing her country offered. By age 14 she was accepted to the prestigious Abbey Theater and pursued her dream of classical theater and operatic singing. This course was to be altered, however, when Charles Laughton, after seeing a screen test of Maureen, became mesmerized by her hauntingly beautiful eyes. Before casting her to star in Jamaica Inn (1939), Laughton and his partner, Erich Pommer, changed her name from Maureen FitzSimons to "Maureen O'Hara" - a bit shorter last name for the marquee.
Under contract to Laughton, Maureen's next picture was to be filmed in America (The Hunchback of Notre Dame (1939)) at RKO Pictures. The epic film was an extraordinary success and Maureen's contract was eventually bought from Laughton by RKO. At 19, Maureen had already starred in two major motion pictures with Laughton. Unlike most stars of her era, she started at the top, and remained there - with her skills and talents only getting better and better with the passing years.
Maureen has an enviable string of all-time classics to her credit that include the aforementioned "The Hunchback of Notre Dame," How Green Was My Valley (1941), Miracle on 34th Street (1947), Sitting Pretty (1948), The Quiet Man (1952), and The Parent Trap (1961). Add to this the distinction of being voted one of the five most beautiful women in the world and you have a film star who was as gorgeous as she was talented.
Although at times early in her career Hollywood didn't seem to notice, there was much more to Maureen O'Hara than her dynamic beauty. She not only had a wonderful lyric soprano voice, but she could use her inherent athletic ability to perform physical feats that most actresses couldn't begin to attempt, from fencing to fisticuffs. She was a natural athlete.
In her career Maureen starred with some of Hollywood's most dashing leading men, including Tyrone Power, John Payne, Rex Harrison, James Stewart, Henry Fonda, Brian Keith, Sir Alec Guinness and, of course, her famed pairings with "The Duke" himself, John Wayne. She starred in five films with Wayne, the most beloved being The Quiet Man (1952).
In addition to famed director John Ford, Maureen was also fortunate to have worked for some other great directors in the business: Alfred Hitchcock, William Dieterle, Henry Hathaway, Henry King, Jean Renoir, John M. Stahl, William A. Wellman, Frank Borzage, Walter Lang, George Seaton, George Sherman, Carol Reed, Delmer Daves, David Swift, Andrew V. McLaglen and Chris Columbus.
In 1968 Maureen found much deserved personal happiness when she married Charles Blair. Gen. Blair was a famous aviator whom she had known as a friend of her family for many years. A new career began for Maureen, that of a full-time wife. Her marriage to Blair, however, was again far from typical. Blair was the real-life version of what John Wayne had been on the screen. He had been a Brigadier General in the Air Force, a Senior Pilot with Pan American, and held many incredible record-breaking aeronautic achievements. Maureen happily retired from films in 1973 after making the TV movie The Red Pony (1973) (which on the prestigious Peabody Award for Excellence) with Henry Fonda. With Blair, Maureen managed Antilles Airboats, a commuter sea plane service in the Caribbean. She not only made trips around the world with her pilot husband, but owned and published a magazine, "The Virgin Islander," writing a monthly column called "Maureen O'Hara Says."
Tragically, Charles Blair died in a plane crash in 1978. Though completely devastated, Maureen pulled herself together and, with memories of ten of the happiest years of her life, continued on. She was elected President and CEO of Antilles Airboats, which brought her the distinction of being the first woman president of a scheduled airline in the United States.
Fortunately, she was coaxed out of retirement several times - once in 1991 to star with John Candy in Only the Lonely (1991) and again, in 1995, in a made-for-TV movie, The Christmas Box (1995) on CBS. In the spring of 1998, Maureen accepted the second of what would be three projects for Polson Productions and CBS: Cab to Canada (1998) - and, in October, 2000, The Last Dance (2000).
On St. Patrick's Day in 2004, she published her New York Times bestselling memoir, 'Tis Herself, co-authored with her longtime biographer and manager Johnny Nicoletti.
On November 4, 2014 Maureen was honored by a long overdue Oscar for "Lifetime Achievement" at the annual Motion Picture Arts and Sciences Governors Awards.
Maureen O'Hara was absolutely stunning, with that trademark red hair, dazzling smile and those huge, expressive eyes. She has fans from all over the world of all ages who are utterly devoted to her legacy of films and her persona as a strong, courageous and intelligent woman.2- Actress
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Donna Reed was born in the midwestern town of Denison, Iowa, on January 27, 1921, as Donna Belle Mullenger. A small town - a population of less than 3,000 people - Denison was located by the Boyer River, and was the county seat of Crawford County. Donna grew up as a farm girl, much like many young girls in western Iowa, except for one thing - Donna was very beautiful. That wasn't to say that others weren't as pretty, it's just that Donna's beauty stood out from all the other local girls, so much so that she won a beauty contest in Denison. Upon graduation from high school Donna left for college in Los Angeles, in the hopes of eventually entering movies. While at Los Angeles City College, she pursued her dream by participating in several college stage productions. In addition to the plays, she also won the title of Campus Queen. At one of those stage plays Donna was spotted by an MGM talent scout and was signed to a contract. Her first film was a minor role in MGM's The Getaway (1941). That was followed by a small part in Babes on Broadway (1941), with Mickey Rooney and Judy Garland as a secretary. She then won her breakthrough role in Shadow of the Thin Man (1941). Afterwards, MGM began giving her better parts, in films such as The Bugle Sounds (1942), The Courtship of Andy Hardy (1942) and The Man from Down Under (1943). In 1944 she received second billing playing Carol Halliday in See Here, Private Hargrove (1944), a comedy about a reporter drafted into the army who eventually meets up with Donna's character as a worker in the canteen. The following year Donna starred in The Picture of Dorian Gray (1945), her best role to date. It was a love story set in London in 1890. It got mixed critical reviews but did well at the box-office. Donna was now one of the leading ladies of Hollywood. In 1946 she starred in what is probably her best-known role, as the wife of James Stewart in the classic It's a Wonderful Life (1946). This timeless story is a holiday staple to this day. The film also starred Lionel Barrymore and Thomas Mitchell. The next year Donna starred as Ann Daniels in Paramount's Beyond Glory (1948) with Alan Ladd, which did well at the box-office. Her next role was the strongest she had had yet--Chicago Deadline (1949), again with Ladd. It was one of the best mystery dramas to come out of Hollywood in a long time, and did very well at the box office. As the 1940s faded out and the 1950s stormed in, Donna's roles got bigger but were mainly of the wholesome, girl-next-door type. In 1953, however, she starred as the hostess Alma in the widely acclaimed From Here to Eternity (1953). She was so good in that film she was nominated for and won the Academy Award for Best Supporting Actress, beating out such veterans as Thelma Ritter and Marjorie Rambeau. The film itself won for Best Picture and remains a classic to this day. Later that year Donna starred in The Caddy (1953), a comedy with Jerry Lewis and Dean Martin. Three years later she landed the role of Sacajawea in The Far Horizons (1955), the story of the Lewis and Clark Expedition, starring Charlton Heston and Fred MacMurray. After finishing The Whole Truth (1958), Donna began her own TV series (produced by her husband), The Donna Reed Show (1958), a hit that ran for eight years. She was so effective in the show that she was nominated for TV's prestigious Emmy Award as Best Actress every year from 1959-1962. She was far more popular in TV than on the screen. After the run of the program, Donna took some time away from show business before coming back in a couple of made-for-TV movies (in 1974, she had made a feature called Welcome to Arrow Beach (1973), but it was never released). She did get the role of Ellie Ewing Farlow in the hit TV series Dallas (1978) during the 1984-85 season. It was to be her final public performance. On January 14, 1986, less than two weeks before her 65th birthday, she died of pancreatic cancer in Beverly Hills, California. Grover Asmus, her husband, created the Donna Reed Foundation for the Performing Arts in her hometown of Denison. The foundation helps others who desire a career in the arts. Donna never forgot her roots. She was still a farm girl at heart.2- Actress
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Jennifer Jason Leigh was born Jennifer Lee Morrow in Los Angeles, California, the daughter of writer Barbara Turner and actor Vic Morrow. Her father was of Russian Jewish descent and her mother was of Austrian Jewish ancestry. She is the sister of Carrie Ann Morrow and half-sister of actress Mina Badie.
Jennifer's parents divorced when she was two. Jennifer worked in her first film at the age of nine, in a nonspeaking role for the film Death of a Stranger (1973). At 14 she attended summer acting workshops given by Lee Strasberg and later landed a role in the Disney TV movie The Young Runaways (1978). She received her Screen Actors Guild membership for an episode of the TV series Baretta (1975) when she was 16. Jennifer performed in several TV movies and dropped out of Pacific Palisades High School six weeks short of graduation for her major role in the film Eyes of a Stranger (1981). Her first major success came as the female lead in Fast Times at Ridgemont High (1982).
Jennifer was married to writer/director Noah Baumbach from 2005 to 2013, and the two have a son.2- Actress
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Greta Garbo was born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, to Anna Lovisa (Johansdotter), who worked at a jam factory, and Karl Alfred Gustafsson, a laborer. She was fourteen when her father died, which left the family destitute. Greta was forced to leave school and go to work in a department store. The store used her as a model in its newspaper ads. She had no film aspirations until she appeared in short advertising film at that same department store while she was still a teenager. Erik A. Petschler, a comedy director, saw the film and gave her a small part in his Luffar-Petter (1922). Encouraged by her own performance, she applied for and won a scholarship to a Swedish drama school. While there she appeared in at least one film, En lyckoriddare (1921). Both were small parts, but it was a start. Finally famed Swedish director Mauritz Stiller pulled her from the drama school for the lead role in The Saga of Gösta Berling (1924). At 18 Greta was on a roll.
Following The Joyless Street (1925) both Greta and Stiller were offered contracts with MGM, and her first film for the studio was the American-made Torrent (1926), a silent film in which she didn't have to speak a word of English. After a few more films, including The Temptress (1926), Love (1927) and A Woman of Affairs (1928), Greta starred in Anna Christie (1930) (her first "talkie"), which not only gave her a powerful screen presence but also garnered her an Academy Award nomination as Best Actress (she didn't win). Later that year she filmed Romance (1930), which was somewhat of a letdown, but she bounced back in 1931, landing another lead role in Mata Hari (1931), which turned out to be a major hit.
Greta continued to give intense performances in whatever was handed her. The next year she was cast in what turned out to be yet another hit, Grand Hotel (1932). However, it was in MGM's Anna Karenina (1935) that she gave what some consider the performance of her life. She was absolutely breathtaking in the role as a woman torn between two lovers and her son. Shortly afterwards, she starred in the historical drama Queen Christina (1933) playing the title character to great acclaim. She earned an Oscar nomination for her role in the romantic drama Camille (1936), again playing the title character. Her career suffered a setback the following year in Conquest (1937), which was a box office disaster. She later made a comeback when she starred in Ninotchka (1939), which showcased her comedic side. It wasn't until two years later she made what was to be her last film, Two-Faced Woman (1941), another comedy. But the film drew controversy and was condemned by the Catholic Church and other groups and was a box office failure, which left Garbo shaken.
After World War II Greta, by her own admission, felt that the world had changed perhaps forever and she retired, never again to face the camera. She would work for the rest of her life to perpetuate the Garbo mystique. Her films, she felt, had their proper place in history and would gain in value. She abandoned Hollywood and moved to New York City. She would jet-set with some of the world's best-known personalities such as Aristotle Onassis and others. She spent time gardening and raising flowers and vegetables. In 1954 Greta was given a special Oscar for past unforgettable performances. She even penned her biography in 1990.
On April 15, 1990, Greta died of natural causes in New York and with her went the "Garbo Mystique". She was 84.3- Actress
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Gloria Grahame Hallward, an acting pupil of her mother (stage actress and teacher Jean Grahame), acted professionally while still in high school. In 1944 Louis B. Mayer saw her on Broadway and gave her an MGM contract under the name Gloria Grahame. Her debut in the title role of Blonde Fever (1944) was auspicious, but her first public recognition came on loan-out in It's a Wonderful Life (1946). Although her talent and sex appeal were of star quality, she did not fit the star pattern at MGM, who sold her contract to RKO in 1947. Here the same problem resurfaced; her best film in these years was made on loan-out, In a Lonely Place (1950). Soon after, she left RKO. The 1950s, her best period, brought her a Best Supporting Actress Oscar and typecast her as shady, inimitably sultry ladies in seven well-known film-noir classics.
Rumors of being difficult to work with on the set of Oklahoma! (1955) helped sideline her film career from 1956 onward. She also suffered from marital and child-custody troubles. Eight years after divorce from Nicholas Ray, who was 12 years her senior (and reportedly had discovered her in bed with his 13 year old son), and after a subsequent marriage to Cy Howard ended in divorce, in 1960 she married her former stepson Anthony Ray (who was almost 14 years younger than she was.) This led former husbands Nicholas Ray and Cy Howard to sue Grahame; each man seeking custody of his respective child, putting gossip columnists and scandal sheets into overdrive. Grahame herself underwent electroconvulsive therapy after the ensuing stress caused a nervous breakdown. Surprisingly, however, Grahame and Anthony "Tony" Ray proved a happy couple. The union would be Grahame's longest marriage, lasting almost 14 years (10 years longer than her previous union with Ray's father); the couple had two children, Anthony Jr. and James.
In 1960, Grahame resumed stage acting, combined with TV work and, from 1970, some mostly inferior films. She was described as a serious, skillful actress; spontaneous, honest, and strong-willed; imaginative and curious; incredibly sexy but insecure about her looks (prompting plastic surgery on her famous lips); loving appreciative male company; "a bit loony". In 1975, she was treated for breast cancer. Five years later, she was diagnosed with cancer again, although it is unclear if this was a new cancer or a metastasis of her breast cancer. Grahame eventually moved to England in 1978. Her busiest period of British and American stage work ended abruptly in 1981 when she collapsed from cancer symptoms during a rehearsal. She wished to remain in Liverpool with her partner, Peter Turner (almost 30 years her junior), but after Turner notified her children of her health condition and impending death, two of her children flew to England to retrieve her, insisting she return to the United States. She died a few hours later that same day of stomach cancer and peritonitis at St. Vincent's Hospital in Manhattan on October 5, 1981 at age 57.3- Actress
- Soundtrack
Myrna Williams, later to become Myrna Loy, was born on August 2, 1905 in Helena, Montana. Her father was the youngest person ever elected to the Montana State legislature. Later on her family moved to Radersburg where she spent her youth on a cattle ranch. At the age of 13, Myrna's father died of influenza and the rest of the family moved to Los Angeles. She was educated in L.A. at the Westlake School for Girls where she caught the acting bug. She started at the age of 15 when she appeared in local stage productions in order to help support her family. Some of the stage plays were held in the now famous Grauman's Theater in Hollywood. Mrs. Rudolph Valentino happened to be in the audience one night who managed to pull some strings to get Myrna some parts in the motion picture industry. Her first film was a small part in the production of What Price Beauty? (1925). Later she appeared the same year in Pretty Ladies (1925) along with Joan Crawford. She was one of the few stars that would start in silent movies and make a successful transition into the sound era. In the silent films, Myrna would appear as an exotic femme fatale. Later in the sound era, she would become a refined, wholesome character. Unable to land a contract with MGM, she continued to appear in small, bit roles, nothing that one could really call acting. In 1926, Myrna appeared in the Warner Brothers film called Satan in Sables (1925) which, at long last, landed her a contract. Her first appearance as a contract player was The Caveman (1926) where she played a maid. Although she was typecast over and over again as a vamp, Myrna continued to stay busy with small parts. Finally, in 1927, she received star billing in Bitter Apples (1927). The excitement was short lived as she returned to the usual smaller roles afterward. Myrna would take any role that would give her exposure and showcase the talent she felt was being wasted. It seemed that she would play one vamp after another. She wanted something better. Finally her contract ran out with WB and she signed with MGM where she got two meaty roles. One was in the The Prizefighter and the Lady (1933), and the other as Nora Charles in The Thin Man (1934) with William Powell. Most agreed that the Thin Man series would never have been successful without Myrna. Her witty perception of situations gave her the image that one could not pull a fast one over on the no-nonsense Mrs. Charles. After The Thin Man, Myrna would appear in five more in the series. Myrna was a big box-office draw. She was popular enough that, in 1936, she was named Queen of the Movies and Clark Gable the king in a nationwide poll of movie goers. Her popularity was at its zenith. With the outbreak of World War II, Myrna all but abandoned her acting career to focus on the war effort. After making THE SHADOW OF THE THIN MAN in November of 1941, Myrna more or less stayed away from Hollywood for five years. She broke this hiatus to appear in one Thin Man sequel while devoting most of her time working with the Red Cross. When she did return her star quality had not diminished a bit, as evidenced by her headlining The Best Years of Our Lives (1946). The film did superbly at the box-office, winning the Academy Award for Best Picture in 1947. With her career in high gear again, Myrna played opposite Cary Grant in back-to-back hits The Bachelor and the Bobby-Soxer (1947) and Mr. Blandings Builds His Dream House (1948). She continued to make films through the '50s but the roles started getting fewer, her biggest success coming at the start of that decade with Cheaper by the Dozen (1950). By the 1960s the parts had all but dried up as producers and directors looked elsewhere for talent. In 1960 she appeared in Midnight Lace (1960) and was not in another film until 1969 in The April Fools (1969). The 1970s found her mainly in TV movies, not theatrical productions, except for small roles in Airport 1975 (1974) and The End (1978). Her last film was in 1981 called Summer Solstice (1981), and her final acting credit was a guest spot on the sitcom Love, Sidney (1981) in 1982. By the time Myrna passed away, on December 14, 1993, at the age of 88, she had appeared in a phenomenal 129 motion pictures. She was buried in Helena, Montana.3- A strikingly beautiful leading lady of the Nouvelle Vague, Juliette Mayniel was the daughter of a café owner and his wife, born in the small rural community of Saint-Hippolyte, Aveyron, in southern France. After World War II, her parents resettled in Bordeaux. Juliette spent her adolescence there, went to high school, and, in due course, discovered amateur dramatics. Following a brief sojourn with a local repertory company, she moved to Saint-Germain-des-Prés in Paris, aged twenty, hoping to resume further acting studies at the Conservatoire. However, stage fright got the better of her and she failed to progress beyond the entrance exam.
For a short time, Juliette found work in the field of haute couture fashion design. Through an advertising agency, her face first popped up on screen in a commercial for a brand of soap. The director Claude Chabrol later claimed in his autobiography that this clip led him to cast Juliette as the promiscuous Florence, coveted by two law students played by Gérard Blain (as the serious Charles) and Jean-Claude Brialy (as the rakish and hedonistic Paul) in his film The Cousins (1959). For this, her first important movie role, Juliette garnered good reviews. The New York Times described her performance as "thoroughly provoking".
Her success next prompted leading roles in period drama (Pêcheur d'Islande (1959)), a crime thriller (La nuit des traqués (1959)) and in Georges Franju's classic horror film Eyes Without a Face (1960) (as the hapless recipient of a face transplant experiment). Curiously, Juliette won her one major accolade, a Silver Bear at the 10th Berlin International Film Festival, for her role in a German-produced drama film, Kirmes (1960), directed by Wolfgang Staudte. Chabrol then directed her again as one of the murder victims of France's most notorious serial killer in Bluebeard (1963), and, as Lucie, the object of a disturbed young man's fantasy in Ophélia (1963). She acted among an international cast in the 'giallo' thriller Assassination in Rome (1965) and as Priam's daughter Creusa in the peplum spectacle The Trojan Horse (1961), love interest of Trojan hero Aeneas, as portrayed by muscular American bodybuilder Steve Reeves (chiefly famous in Italy for playing Hercules).
In 1964, Juliette divorced her husband, the actor Robert Auboyneau. She was for four years the partner of well-known Italian star Vittorio Gassman with whom she had a son (actor and writer Alessandro Gassmann). She continued to act in films of widely varying quality until 1983. Juliette eventually quit show biz and lived for many years in Mexico, where she died on July 21 2023, aged 87.3 - Actress
- Writer
- Soundtrack
If a film were made of the life of Vivien Leigh, it would open in India just before World War I, where a successful British businessman could live like a prince. In the mountains above Calcutta, a little princess is born. Because of the outbreak of World War I, she is six years old the first time her parents take her to England. Her mother thinks she should have a proper English upbringing and insists on leaving her in a convent school - even though Vivien is two years younger than any of the other girls at the school. The only comfort for the lonely child is a cat that was in the courtyard of the school that the nuns let her take up to her dormitory. Her first and best friend at the school is an eight-year-old girl, Maureen O'Sullivan who has been transplanted from Ireland. In the bleakness of a convent school, the two girls can recreate in their imaginations the places they have left and places where they would some day like to travel. After Vivien has been at the school for 18 months, her mother comes again from India and takes her to a play in London. In the next six months Vivien will insist on seeing the same play 16 times. In India the British community entertained themselves at amateur theatricals and Vivien's father was a leading man. Pupils at the English convent school are eager to perform in school plays. It's an all-girls school, so some of the girls have to play the male roles. The male roles are so much more adventurous. Vivien's favorite actor is Leslie Howard, and at 19 she marries an English barrister who looks very much like him. The year is 1932. Vivien's best friend from that convent school has gone to California, where she's making movies. Vivien has an opportunity to play a small role in an English film, Things Are Looking Up (1935). She has only one line but the camera keeps returning to her face. The London stage is more exciting than the movies being filmed in England, and the most thrilling actor on that stage is Laurence Olivier. At a party Vivien finds out about a stage role, "The Green Sash", where the only requirement is that the leading lady be beautiful. The play has a very brief run, but now she is a real actress. An English film is going to be made about Elizabeth I. Laurence gets the role of a young favorite of the queen who is sent to Spain. Vivien gets a much smaller role as a lady-in-waiting of the queen who is in love with Laurence's character. In real life, both fall in love while making this film, Fire Over England (1937). In 1938, Hollywood wants Laurence to play Heathcliff in Wuthering Heights (1939). Vivien, who has just recently read Gone with the Wind (1939), thinks that the role of Scarlett O'Hara is the first role for an actress that would be really exciting to bring to the screen. She sails to America for a brief vacation. In New York she gets on a plane for the first time to rush to California to see Laurence. They have dinner with Myron Selznick the night that his brother, David O. Selznick, is burning Atlanta on a backlot of MGM (actually they are burning old sets that go back to the early days of silent films to make room to recreate an Atlanta of the 1860s). Vivien is 26 when Gone with the Wind (1939) makes a sweep of the Oscars in 1939. So let's show 26-year-old Vivien walking up to the stage to accept her Oscar and then as the Oscar is presented the camera focuses on Vivien's face and through the magic of digitally altering images, the 26-year-old face merges into the face of Vivien at age 38 getting her second Best Actress Oscar for portraying Blanche DuBois in A Streetcar Named Desire (1951). She wouldn't have returned to America to make that film had not Laurence been going over there to do a film, Carrie (1952) based on Theodore Dreiser's novel "Sister Carrie". Laurence tells their friends that his motive for going to Hollywood to make films is to get enough money to produce his own plays for the London stage. He even has his own theater there, the St. James. Now Sir Laurence, with a seat in the British House of Lords, is accompanied by Vivien the day the Lords are debating about whether the St James should be torn down. Breaking protocol, Vivien speaks up and is escorted from the House of Lords. The publicity helps raise the funds to save the St. James. Throughout their two-decade marriage Laurence and Vivien were acting together on the stage in London and New York. Vivien was no longer Lady Olivier when she performed her last major film role, The Roman Spring of Mrs. Stone (1961).4- Actress
- Writer
- Additional Crew
Monica Vitti was born on 3 November 1931 in Rome, Lazio, Italy. She was an actress and writer, known for L'Avventura (1960), Red Desert (1964) and L'Eclisse (1962). She was married to Roberto Russo. She died on 2 February 2022 in Rome, Lazio, Italy.4- Actress
- Writer
- Music Department
American actress-author-composer Jessica Harper was born on October 10, 1949 in Chicago, Illinois, to Eleanor (Emery), a writer, and Paul Church Harper, Jr., a painter who was chairman of the Needham Harper Worldwide advertising agency in NY. Jessica launched her professional acting career soon after graduating from Sarah Lawrence. Drawing on her considerable singing skills, she was an understudy in the Broadway production of the "tribal love" rock musical Hair (1979) -- other understudies included Diane Keaton, Melba Moore, Keith Carradine, Meat Loaf and Cliff De Young, who would later co-star with Harper in Shock Treatment (1981),which also showcased her musical gifts.
In the 1970s and 1980s, she developed quite a reputation for herself as a cult actress: her wide-eyed, fresh-faced beauty and air of melancholy made her a unique presence on film. As "Cathy Cake" in the X-rated Inserts (1975), she was arguably the first "serious" American actress to have a truly explicit on-screen sex scene. Other memorable films she appeared in were Brian De Palma's Phantom of the Paradise (1974), Dario Argento's seminal slasher film Suspiria (1977), and two for Woody Allen: Love and Death (1975) and Stardust Memories (1980). Since her appearance in the American remake of Dennis Potter's Pennies from Heaven (1981) and My Favorite Year (1982), her film career has cooled somewhat (likely as directors didn't know how to use this seemingly fragile, ethereal and always unique talent), though she continues to work steadily in film and on television.
Since the 1990s, Harper -- the wife of motion picture executive Tom Rothman -- has developed a second successful career as an author of children's books and as a composer of music for children. She has written four picture books in collaboration with her sister, Lindsay Harper DuPont, including her most recent, "A Place Called Kindergarten". Her debut music CD, "A Wonderful Life" (1994), which won both a Parent's Choice Gold Award and a National Association of Parenting Publications Award, was particularly praised for the lyrics written by Harper. Her other five children's music CDs include "Inside Out" and "Hey, Picasso".4- Actress
- Producer
- Soundtrack
Jacqueline Bisset has been an international film star since the late '60s. She received her first roles mainly because of her stunning beauty, but over time she has become a fine actress respected by fans and critics alike. Bisset has worked with directors John Huston, François Truffaut, George Cukor and Roman Polanski. Her co-stars have included Anthony Quinn, Paul Newman, Nick Nolte, Jean-Paul Belmondo, Kenneth Branagh and Marcello Mastroianni.
Her somewhat French-sounding name has led many to assume that she is from France, but she was brought up in England and had to study to learn French. Her mother was French and was an attorney before being married. As a child Jacqueline studied ballet. During her teenage years her father left the family when her mother was diagnosed with disseminating sclerosis; Jacqueline worked as a model to support her ailing mother and eventually her parents divorced, an experience she has said she considered character-strengthening. She took an early interest in film, and her modeling career helped pay for acting lessons.
In 1967 Bisset gained her first critical attention in Two for the Road (1967), and that same year appeared in the popular James Bond spoof Casino Royale (1967), playing Miss Goodthighs. In 1968 her career got a boost when Mia Farrow unexpectedly dropped out of the shooting of The Detective (1968); Farrow's marriage to co-star Frank Sinatra was on the rocks, and her role was eventually given to Bisset, who received special billing in the film's credits. In the following year she earned a Golden Globe nomination as Most Promising Newcomer for The Sweet Ride (1968) and gained even more attention playing opposite Steve McQueen in the popular action film Bullitt (1968). In 1970 she was featured in the star-studded disaster film Airport (1970) and had the main role in The Grasshopper (1970). Then she co-starred with Alan Alda in the well-reviewed but commercially underperforming horror movie, The Mephisto Waltz (1971). In 1973 she became recognized in Europe as a serious actress when she played the lead in Truffaut's Day for Night (1973). However, it would be several years before her talents would be taken seriously in the US. Though she scored another domestic hit with Murder on the Orient Express (1974), her part in it, as had often been the case, was decorative. She did appear to good effect in Believe in Me (1971), Le Magnifique (1973), The Sunday Woman (1975) and St. Ives (1976).
Jacqueline's stunning looks and figure made quite a splash in The Deep (1977). Her underwater swimming scenes in that movie inspired the worldwide wet T-shirt craze, and Newsweek magazine declared her "the most beautiful film actress of all time." The film's producer, Peter Guber, said "That T-shirt made me a rich man." However, she hated the wet T-shirt scenes because she felt exploited. At the time of filming she was not told that the filmmakers would shoot the scenes in such a provocative way, and she felt tricked. On the plus side, the huge success of the picture made Bisset officially bankable. She was next seen in high-profile roles in The Greek Tycoon (1978), a thinly disguised fictionalization of the marriage of Jacqueline Kennedy and Aristotle Onassis, and Who Is Killing the Great Chefs of Europe? (1978), for which she received a Golden Globe nomination as Best Actress in a Comedy.
In the early '80s, Bisset starred in the box office disasters When Time Ran Out... (1980) and Inchon (1981), but her well-received turn opposite Candice Bergen in Rich and Famous (1981) between those two films helped gain her recognition as a serious actress from American audiences. She rebounded neatly with Class (1983) and Under the Volcano (1984), getting a Golden Globe nomination as Best Supporting Actress for the latter. She also earned praise for her work in the excellent made-for-cable WWII drama Forbidden (1984), then appeared on network TV in adaptations of Anna Karenina (1985) with Christopher Reeve and Napoleon and Josephine: A Love Story (1987) with Armand Assante. In 1989 she co-starred in the raunchy yet witty comedy Scenes from the Class Struggle in Beverly Hills (1989) and the erotic thriller Wild Orchid (1989), neither of which fared too well, but her output remained consistent. As she transitioned seamlessly out of her ingenue years, smaller-scale productions such as CrimeBroker (1993) and Leave of Absence (1994) would provide Bisset with plum roles, even if they went largely unseen.
In 1996 she was nominated for a César Award, the French equivalent of the Oscar, for her performance in Claude Chabrol's La Cérémonie (1995). She held roles in period pieces like Dangerous Beauty (1998), as well as the Biblical epics Jesus (1999) and In the Beginning (2000). Other notable credits included the miniseries Joan of Arc (1999) alongside Leelee Sobieski, which gained her an Emmy nomination, and The Sleepy Time Gal (2001), which premiered at Sundance but unfortunately was not picked up for theatrical distribution. In 2005 Jacqueline was back on the big screen, playing Keira Knightley's mother in the Domino Harvey biopic Domino (2005) for Tony Scott. In 2006 she appeared in the fourth season of Nip/Tuck (2003) as the ruthless extortionist "James." Bisset then turned in strong performances in Boaz Yakin's disturbing independent drama Death in Love (2008) and the telepic An Old Fashioned Thanksgiving (2008), garnering accolades for both. In 2013 she appeared in BBC's program Dancing on the Edge (2013), for which she finally won her first Golden Globe. She followed that up with the movies Welcome to New York (2014) with Gérard Depardieu and Miss You Already (2015) with Drew Barrymore and Toni Collette.
2016 saw the long-awaited release of Linda Yellen's comedy The Last Film Festival (2016), where Jacqueline was a riot as a washed-up Italian diva alongside Dennis Hopper in his final role. Since then she's kept busy on the indie circuit, appearing in Backstabbing for Beginners (2018) with Ben Kingsley, Here and Now (2018) with Sarah Jessica Parker, and Asher (2018) with Ron Perlman and Famke Janssen, as well as the Amazon original movie Birds of Paradise (2021) and a title role in Loren & Rose (2022).
Bisset has never married, but has been involved in long-term romantic relationships with Canadian actor Michael Sarrazin, Moroccan entrepreneur Victor Drai, Russian ballet dancer Alexander Godunov, Swiss actor Vincent Perez and Turkish martial arts instructor Emin Boztepe. She continues to make numerous films, and frequently participates in film festivals and award ceremonies around the world.5- Actress
- Soundtrack
A natural and lovely talent who was discovered for films by Samuel Goldwyn, the always likable Teresa Wright distinguished herself early on in high-caliber, Oscar-worthy form -- the only performer ever to be nominated for Oscars for her first three films. Always true to herself, she was able to earn Hollywood stardom on her own unglamorized terms.
Born Muriel Teresa Wright in the Harlem district of New York City on October 27, 1918, her parents divorced when she was quite young and she lived with various relatives in New York and New Jersey. An uncle of hers was a stage actor. She attended the exclusive Rosehaven School in Tenafly, New Jersey. The acting bug revealed itself when she saw the legendary Helen Hayes perform in a production of "Victoria Regina." After performing in school plays and graduating from Columbia High School in Maplewood, New Jersey, she made the decision to pursue acting professionally.
Apprenticing at the Wharf Theatre in Provincetown, Massachusetts during the summers of 1937 and 1938 in such plays as "The Vinegar Tree" and "Susan and God", she moved to New York and changed her name to Teresa after she discovered there was already a Muriel Wright in Actors Equity. Her first New York play was Thornton Wilder's "Our Town" wherein she played a small part but also understudied the lead ingénue role of Emily. She eventually replaced Martha Scott in the lead after the actress was escorted to Hollywood to make pictures and recreate the Emily role on film. It was during her year-long run in "Life with Father" that Teresa was seen by Goldwyn talent scouts, was tested, and ultimately won the coveted role of Alexandra in the film The Little Foxes (1941). She also accepted an MGM starlet contract on the condition that she not be forced to endure cheesecake publicity or photos for any type of promotion and could return to the theater at least once a year. Oscar-nominated for her work alongside fellow cast members Bette Davis (as calculating mother Regina) and Patricia Collinge (recreating her scene-stealing Broadway role as the flighty, dipsomaniac Aunt Birdie), Teresa's star rose even higher with her next pictures.
Playing the good-hearted roles of the granddaughter in the war-era tearjerker Mrs. Miniver (1942) and baseball icon Lou Gehrig's altruistic wife in The Pride of the Yankees (1942) opposite Gary Cooper, the pretty newcomer won both "Best Supporting Actress" and "Best Actress" nods respectively in the same year, ultimately taking home the supporting trophy. Teresa's fourth huge picture in a row was Alfred Hitchcock's psychological thriller Shadow of a Doubt (1943) and she even received top-billing over established star Joseph Cotten who played a murdering uncle to her suspecting niece. Wed to screenwriter Niven Busch in 1942, she had a slip with her fifth picture Casanova Brown (1944) but bounced right back as part of the ensemble cast in the "Best Picture" of the year The Best Years of Our Lives (1946) portraying the assuaging daughter of Fredric March and Myrna Loy who falls in love with damaged soldier-turned-civilian Dana Andrews.
With that film, however, her MGM contract ended. Remarkably, she made only one movie for the studio ("Mrs. Miniver") during all that time. The rest were all loanouts. As a freelancing agent, the quality of her films began to dramatically decline. Pictures such as Enchantment (1948), Something to Live For (1952), California Conquest (1952), Count the Hours! (1953), Track of the Cat (1954) and Escapade in Japan (1957) pretty much came and went. For her screenwriter husband she appeared in the above-average western thriller Pursued (1947) and crime drama The Capture (1950). Her most inspired films of that post-war era were The Men (1950) opposite film newcomer Marlon Brando and the lowbudgeted but intriguing The Search for Bridey Murphy (1956) which chronicled the fascinating story of an American housewife who claimed she lived a previous life.
The "Golden Age" of TV was her salvation during these lean film years in which she appeared in fine form in a number of dramatic showcases. She recreated for TV the perennial holiday classic The Miracle on 34th Street (1955) in which she played the Maureen O'Hara role opposite Macdonald Carey and Thomas Mitchell. Divorced from Busch, the father of her two children, in 1952, Teresa made a concentrated effort to return to the stage and found consistency in such plays as "Salt of the Earth" (1952), "Bell, Book and Candle" (1953), "The Country Girl" (1953), "The Heiress" (1954), "The Rainmaker" (1955) and "The Dark at the Top of the Stairs" (1957) opposite Pat Hingle, in which she made a successful Broadway return. Marrying renowned playwright Robert Anderson in 1959, stage and TV continued to be her primary focuses, notably appearing under the theater lights in her husband's emotive drama "I Never Sang for My Father" in 1968. The couple lived on a farm in upstate New York until their divorce in 1978.
By this time a mature actress now in her 50s, challenging stage work came in the form of "The Effect of Gamma Rays on Man-in-the Moon Marigolds", "Long Day's Journey Into Night", "Morning's at Seven" and "Ah, Wilderness!" Teresa also graced the stage alongside George C. Scott's Willy Loman (as wife Linda) in an acclaimed presentation of "Death of a Salesman" in 1975, and appeared opposite Scott again in her very last play, "On Borrowed Time" (1991). After almost a decade away from films, she came back to play the touching role of an elderly landlady opposite Matt Damon in her last picture, John Grisham's The Rainmaker (1997). Teresa passed away of a heart attack in 2005.5- Actress
Betsy Blair was born in Cliffside, New Jersey, a child model before finding work as a chorus dancer at the early age of 15. She received her first mini-break on Broadway in "Panama Hattie" in 1940 delivering a single line, but by the next year she had copped the ingénue lead in William Saroyan's "The Beautiful People." At around the same time, she met dancer extraordinaire Gene Kelly and married him in 1940. Despite her background in dance, Betsy was admittedly not in the same league as a Vera-Ellen, Cyd Charisse, or Ann Miller, so she was never afforded the opportunity to glide with Gene in films. Moreover, she never even appeared in a musical film.
She made her large screen debut in 1947 and, for the next couple of years, appeared in a number of above-average dramas such as The Guilt of Janet Ames (1947), A Double Life (1947) starring Ronald Colman, The Snake Pit (1948), wherein she played a demented inmate alongside Olivia de Havilland, and a shining role in Another Part of the Forest (1948). After such promise, things came to a halt. Betsy had been involved in SAG politics as early as 1946 proposing the formation of the first Anti-Discrimination committee. Within a year the House Un-American Activities Committe began to investigate Betsy and others in the motion picture industry and what they considered left-wing extremist viewpoints. Her name appeared in the "Red Channels" and that was that. Her career was undone. By the early 1950s, all film offers had dried up. The only reason Betsy won the female lead in the 1955 cinematic classic Marty (1955) was because her husband threatened to stop shooting at MGM if they didn't let her work despite the blacklist. It would be the role of a lifetime for Betsy. As the touching plain-Jane girlfriend of Ernest Borgnine's title butcher, Betsy won the Cannes Film and British Film acting awards, not to mention an Oscar nomination. It did not help her overcome the blacklist, however.
By 1957, she was divorced from Kelly and had moved to Europe to avoid the Hollywood shun. Shortly thereafter, she lived with French actor Roger Pigaut. In 1963, she married producer/director Karel Reisz. They would remain together for almost 40 years until his death in London of a blood disorder in 2002. Betsy later published her memoirs and discussed quite candidly her life on Broadway, life with Gene Kelly, and life amid the blacklisting. She continued to live in England before passing away from cancer on 13th March, 2009. She was 85 years old.5- Actress
- Music Department
- Soundtrack
Clara Gordon Bow, destined to become "The It Girl", was born on July 29, 1905 in Brooklyn, New York, and was raised in poverty and violence. Her often absentee and brutish father could not or did not provide and her schizophrenic mother tried to slit Clara's throat when the girl spoke of becoming an actress. Bow, nonetheless, won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.
The movie It (1927) defined her career. The film starred Clara as a shopgirl who was asked out by the store's owner. As you watch the silent film you can see the excitement as she prepared for her date with the boss, her friend trying hard to assist her. She used a pair of scissors to modify her dress to try to look "sexier." The movie did much to change society's mores as there were only a few years between World War I and Clara Bow, but this movie went a long way in how society looked at itself. Clara was flaming youth in rebellion. In the film she presented a worldly wisdom that somehow sex meant having a good time. But the movie shouldn't mislead the viewer, because when her boss tries to kiss her goodnight, she slaps him. At the height of her popularity she received over 45,000 fan letters a month. Also, she was probably the most overworked and underpaid star in the industry. With the coming of sound, her popularity waned. Clara was also involved in several court battles ranging from unpaid taxes to being in divorce court for "stealing" women's husbands. After the court trials, she made a couple of attempts to get back in the public eye. One was Call Her Savage (1932) in 1932. It was somewhat of a failure at the box office and her last was in 1933 in a film called Hoopla (1933).
She then married cowboy star Rex Bell at 26 and retired from the film world at 28. She doted on her two sons and did everything to please them. Haunted by a weight problem and a mental imbalance, she never re-entered show business. She was confined to sanitariums from time to time and prohibited access to her beloved sons. She died of a heart attack in West Los Angeles, on September 26, 1965 at age 60. Today she is finding a renaissance among movie buffs, who are recently discovering the virtues of silent film. The actress who wanted so much to be like the wonderful young lady in It (1927) has the legacy of her films to confirm that she was a wonderful lady and America's first sex symbol.6- Actress
- Director
Alice started as an extra in films at age 15. She worked in "Inceville" and would appear as several characters in 'Civilization (1916)'. In 1917, she would meet director Rex Ingram and they would marry in 1921. It was also in 1921 that Alice would gain acclaim as Marguerite in 'The Four Horsemen of the Apocalypse (1921)'. She would continue to play the heroine is the films 'The Prisoner of Zenda (1922)' and 'Scaramouche (1923)'. In 1924, Metro would merge into the new MGM and both Ingram and Terry would work there. She would make the 'The Great Divide (1924)' with Wallace Beery in a western melodrama. She would be directed by Ingram in 'The Arab (1924)', which was filmed in North Africa and owed much to the influence of screen idol Valentino. Alice would get her chance to play the wicked woman in 'Mare Nostrum (1926)'. Filmed in Italy and Spain, this film was both a critical and financial success directed by Ingram. Ingram would make his third independent film in Italy when he directed Alice in 'The Garden of Allah (1927)'. Later that year, Alice would be reunited with Ramon Navarro in 'Lovers? (1927)', but the film would not be as well received as their earlier films. When sound came to the screen Alice retired when her favorite director Rex Imgram retired.6- Actress
- Additional Crew
- Director
Jean Dorothy Seberg was born in Marshalltown, Iowa, to substitute teacher Dorothy Arline (Benson) and pharmacist Edward Waldemar Seberg. Her father was of Swedish descent and her mother was of English and German ancestry.
One month before her 18th birthday, Jean landed the title role in Otto Preminger's Saint Joan (1957) after a much-publicized contest involving some 18,000 hopefuls. The failure of that film and the only moderate success of her next, Bonjour Tristesse (1958), combined to stall Seberg's career, until her role in Jean-Luc Godard's landmark feature, Breathless (1960), brought her renewed international attention. Seberg gave a memorable performance as a schizophrenic in the title role of Robert Rossen's Lilith (1964) opposite Warren Beatty and went on to appear in over 30 films in Hollywood and Europe.
In the late 1960s, Seberg became involved in anti-war politics and was the target of an undercover campaign by the FBI to discredit her because of her association with several members of the Black Panther party. She was found dead under mysterious circumstances in Paris in 1979.6- The radiant Françoise Dorléac is better remembered today as the elder, ill-fated sister of French film star Catherine Deneuve. The Paris-born actress, however, was actually the first to become a star and had quite a formidable career of her own in the 1960s until it was cut short. Born into a theatrical family in 1942 (her father was actor Maurice Dorléac), Françoise first appeared on stage at the age of 10.
Entering the film industry with the movie short Mensonges (1957), she studied at the Conservatoire d'Art Dramatique (1959-1961) and had modeled for Christian Dior by the time she started making any kind of cinematic impact. Slim, gamine, pale-skinned and a real brunette stunner, Françoise graced a number of movies before hitting celebrity stardom with François Truffaut's melodrama The Soft Skin (1964) and the classic James Bond-like spy spoof That Man from Rio (1964), both released in 1964. The two films showed the polar sides of Françoise's incredible allure and talent. In the former she played an airline stewardess who falls into a tragic affair with a married businessman (Jean Desailly) and in the latter she played a fun and flaky heroine opposite Jean-Paul Belmondo. Unlike Catherine, Françoise proved a carefree, outgoing presence both on and off camera. Known for her chic, stylish ways and almost unbridled sense of joie-de-vivre, she continued making strong marks as the adulterous wife in Roman Polanski's black comedy Cul-de-sac (1966) and even joined Gene Kelly, George Chakiris, and her sister, who was now a cinematic star by this time too, in the rather candy-coated The Young Girls of Rochefort (1967), a colorful movie which paid homage to the Hollywood musical. She and Catherine, who looked quite similar, played singing twins who dream about living in Paris.
Her fun and funny side was always an asset and often revealed as in the films as Arsène Lupin contre Arsène Lupin (1962) and Male Hunt (1964). Branching out now in such non-French movies as Genghis Khan (1965), Where the Spies Are (1965), and Billion Dollar Brain (1967), the luminous Françoise was on the brink of international stardom when her rental car flipped and burned on a roadway in Nice, France on June 26, 1967. She was near completion of the last film mentioned at the time the accident occurred. Her part in the movie was left intact. Her early death at age 25 most certainly robbed the cinema of a tried and true talent and incomparably beautiful mademoiselle who showed every sign of taking Hollywood by storm, as Catherine later did.6 - Actress
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Diminutive, fiery-tempered Simone Simon was born in France, but spent much of her early childhood in Madagascar, where her father managed a graphite mine. Her schooling was somewhat unsettled, her family moving from city to city (Berlin, Budapest, Turin) before finally establishing themselves in Paris in 1930. Simone started as a dress designer, fashion model and occasional performer in stage musicals. She eventually met the director Marc Allégret, who took her under his wing. Her film debut was in 1931 and she had her first major hit as Jean Gabin's co-star in La Bête Humaine (1938), directed by Jean Renoir.
There were two halves to Simone's history in Hollywood. In 1936, Darryl F. Zanuck signed her to a contract at 20th Century Fox on the strength of a picture she had made two years earlier, Allegret's Ladies Lake (1934). She was launched with an expensive publicity campaign which accentuated her continental allure, particularly, her 'sexy pout'. During her tenure, problems surfaced regarding her command of English and also her limited singing skills. Dissatisfied with the roles she was given, Simone returned to France and 'La Bete Humaine'. She made a second attempt at Hollywood, acting in William Dieterle's The Devil and Daniel Webster (1941) as Belle, the devil's handmaiden. The New York Times review of October 17 considered her 'completely out of key'. Simone's best work, however, was to come in the shape of the cult horror classic Cat People (1942). Producer Val Lewton and director Jacques Tourneur used her triangular-faced feline qualities to best effect in the story of a girl who obsesses about an ancient Balkan curse turning her into a panther. The film was stylish and subtle, creating imagined rather than actual menace. Simone's performance was commensurate with perfectly studied cat-like mannerisms. During the production of 'Cat People', Simone was under FBI surveillance because of her relationship with MI5 spy Dusko Popov. She made two further, less successful, films at RKO, then returned to France for good. Simone made several films there and worked on the stage. In spite of many affairs and relationships, she never married.6- Actress
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Marie-Christine Barrault was born on 21 March 1944 in Paris, France. She is an actress and writer, known for My Night at Maud's (1969), Cousin, Cousine (1975) and Marie Curie, une femme honorable (1991). She was previously married to Roger Vadim and Daniel Toscan du Plantier.6- Dominique Sanda was born in 1951, in Paris, France. When she was 16, she left her upper-class family and married, but divorced two years later. She found a temporary job as a Vogue model, when Robert Bresson gave her the starring part in his absorbing drama A Gentle Woman (1969); she was quite impressive as a young woman who commits suicide when she finds out that her husband is unable to love her for what she really is. She was then offered the female lead in Vittorio De Sica's The Garden of the Finzi-Continis (1970), as the provocative daughter of a rich Jewish family. Afterwards, she worked with Bernardo Bertolucci on the much-discussed The Conformist (1970), as the sensual wife of an anti-fascist professor, and co-starred with Paul Newman in John Huston's spy thriller, The MacKintosh Man (1973). She worked again with Bertolucci in the epic, 1900 (1976), and won the Cannes Film Festival Best Actress Prize for her performance in Mauro Bolognini's The Inheritance (1976), as an Italian patriarch's daughter-in-law. She gave one more unforgettable performance in Jacques Demy's original musical, A Room in Town (1982), as a femme fatale. Today, in her seventies, she is still busy, appearing in international films and TV series.6
- She was born on April 12 1950. Father Yves Gozzi, mother Gylberte. Has three sisters. One son, Benoit Sauvage, born in California in 1980, one daughter, Celia Sauvage, also born in California in 1983. Nationality, French, married to Michael Sauvage.
So many people wondered why this young actress stopped acting, after her remarkable performance in Rapture (1965). The main reason was her marriage. Currently, she works and lives in Paris as a manager in an English firm.7 - Actress
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Mary Debra Winger was born May 16, 1955 in Cleveland, Ohio, to Ruth (Felder), an office manager, and Robert Jack Winger, a meat packer. She is from a Jewish family (originally from Austria-Hungary and the Russian Empire). Her maternal grandparents called her Mary, while her parents called her Debra (her father named her Debra after his favorite actress, Debra Paget). The family moved to California when Debra was five. She fell in love with acting in high school but kept it a secret from her family. She was a precocious teenager, having graduated high school at an early age of 15. She enrolled in college, majoring in criminology. She worked part-time in the local amusement park when she got thrown from a truck and suffered serious injuries and went temporarily blind for several months. She was in the hospital when she vowed to pursue her passion for acting.
After she recovered, she abandoned college and studied acting. Like any struggling actor, she did commercials and guest-starred on 70s TV shows like Task Force: Part I (1976) and Wonder Woman (1975), where she performed as Diana's little sister, Wonder Girl. She also made her feature film debut in the embarrassing soft-core porn film, Slumber Party '57 (1976). (Years later on Inside the Actors Studio (1994), host James Lipton asked her to name her first film, and she refused to answer him.) Her next two films, French Postcards (1979) and Thank God It's Friday (1978), did absolutely nothing for her career. When Sissy Spacek said no to playing the character Sissy in Urban Cowboy (1980), almost every young actress in Hollywood pursued the role. Debra won the role over a then-unknown Michelle Pfeiffer and gave a star-making performance as John Travolta's wife. Her handling of the mechanical bull made her a new kind of sex symbol. She would always remain grateful to her director James Bridges for threatening to quit the film if the studio didn't cast her. However, she followed it up with a flop, Cannery Row (1982). But, she became part of one of the top-grossing films of all time by providing her deep, throaty voice to the title character of E.T. the Extra-Terrestrial (1982) as a favor to the film's director Steven Spielberg (Note: IMDB cast list for E.T. indicates Pat Welsh as the voice for that character.). She also appeared in the film for a few seconds in the Halloween scene, where she is wearing a zombie mask and carrying a poodle. She received her first Academy Award nomination as Best Actress for the huge hit, An Officer and a Gentleman (1982), where her on-screen love scenes with Richard Gere became just as legendary as her off-screen fights with him and with director Taylor Hackford.
Debra's reputation as a great talent, as well as her reputation as a difficult actress grew with her next film, Terms of Endearment (1983), which not only earned her a second Oscar nomination as Best Actress but also won the Best Picture as well. She also earned the Best Actress Award from the National Society of Film Critics. Debra was at the top of her game and was the most sought-after actress in Hollywood, but she turned down quality roles and lucrative offers for three years. Some speculated that the reason was her romantic involvement with Bob Kerrey, then-governor of Nebraska, while others have stated it was her back problems. Whatever her reasons were, her career lost its heat. Her long-delayed film Mike's Murder (1984), reuniting her with her "Urban Cowboy" director James Bridges, didn't help matters either when it became a critical and financial flop. Debra tried to revive her career by starring in the big-budget comedy Legal Eagles (1986), but she disliked the film so much that she publicly stated that the director, Ivan Reitman, was one of the two worst directors she worked with, the other director being Taylor Hackford (An Officer and a Gentleman (1982)). She also walked out on her agency, CAA, but returned several years later.
Her personal life made headlines when she left Bob Kerrey and eloped with Oscar-winning actor Timothy Hutton in 1986. In 1987, she gave birth to their son, Noah Hutton. She also starred in Black Widow (1987), which wasn't a hit, and acted alongside Hutton as a male angel in Made in Heaven (1987) which flopped. She followed that up by starring in another flop, Betrayed (1988), which featured a fleeting cameo by Hutton. She separated from Hutton in 1988 and they divorced in 1990, at which time she had two more bombs, Everybody Wins (1990) and The Sheltering Sky (1990). However, she relished the experience on The Sheltering Sky (1990) so much that she stayed in the Sahara desert long after filming wrapped. She came back to US and filmed a Steve Martin vehicle, Leap of Faith (1992), which did nothing for her career. But, she found love on the set of her next film, Wilder Napalm (1993) when she co-starred opposite Arliss Howard, who became her next husband. The film flopped but their marriage lasted. She received good notices for A Dangerous Woman (1993), but it was Shadowlands (1993) which finally brought her renewed respectability and her third Academy Award nomination as Best Actress. She followed that up with a forgettable comedy, Forget Paris (1995). Then, she signed to do "Divine Rapture" with Marlon Brando and Johnny Depp in a small village in Ireland, but two weeks into filming, financing fell apart, and the film was never completed. Winger was never paid for her work, and neither were the poor villagers, and Winger said she was devastated for them. Now 40, Debra felt that there were no good roles for her and she concentrated on motherhood by having a second son, Babe Howard, in 1997. Her six-year absence from films inspired a documentary by Rosanna Arquette titled Searching for Debra Winger (2002), which is about sexism and ageism in Hollywood. In 2001, she returned to acting in her husband's film, Big Bad Love (2001), which she also co-produced. It renewed her love for acting, and she has ventured out into television as well by earning her first Emmy nomination as Best Actress for Dawn Anna (2005), directed by her husband. In 2008, she wrote a well-written book, based on her personal recollections, titled "Undiscovered". And she followed that up by winning rave reviews as Anne Hathaway's mother in Jonathan Demme's Rachel Getting Married (2008). However, it wasn't enough to reignite her feature film career, so she ventured towards television in 2010 with a guest-starring role on "Law and Order" titled Boy on Fire (2010), to a seven-episode stint on In Treatment (2008), to a two-part miniseries The Red Tent (2014), to a regular role on The Ranch (2016) . Her television exposure reignited her feature film career, and she was cast in her first romantic lead in 22 years in The Lovers (2017). And she had also mellowed with age, presenting an award to Richard Gere in 2011 and saying kind things about director Taylor Hackford in 2017, after having fought with both of them during An Officer and a Gentleman (1982). Nobody can deny that Debra Winger is one of the best American actresses ever. Her fans hope that Hollywood will finally reward her talent with a long-overdue Academy Award.7- Director Bo Widerberg first spotted the teenage Pia Degermark in a newspaper photo, dancing at a party with the Swedish Crown Prince Carl Gustaf (later King Carl XVI Gustaf. Her career seemed assured after Widerberg cast her in the lead of Elvira Madigan (1967), which debuted at Cannes and garnered critical and commercial acclaim. Degermark was heralded as the "new Ingrid Bergman" and offers came flooding in. However, in 1971 she married producer Pier A. Caminnecci (in whose film The Vampire Happening (1971) she appeared). The marriage produced a son, Cesare, but ended two years later. Degermark then emigrated to the US, but returned to her native Sweden in 1979, by now gravely ill and suffering from anorexia. Her acting career now over, she founded the organization "Alfta", devoted to the aid of other women suffering from the disease. She was eventually taken to court, accused of false claims and the organization collapsed. It was at this time that Degermark became homeless and addicted to drugs--an addiction that led her to use fraudulent checks in a desperate attempt to get money. She was eventually arrested and committed to Stockholm's state prison.7
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Shirley MacLaine was born Shirley MacLean Beaty in Richmond, Virginia. Her mother, Kathlyn Corinne (MacLean), was a drama teacher from Nova Scotia, Canada, and her father, Ira Owens Beaty, a professor of psychology and real estate agent, was from Virginia. Her brother, Warren Beatty, was born on March 30, 1937. Her ancestry includes English and Scottish.
Shirley was the tallest in her ballet classes at the Washington School of Ballet. Just after she graduated from Washington-Lee High School, she packed her bags and headed for New York. While auditioning for Richard Rodgers and Oscar Hammerstein II's "Me and Juliet", the producer kept mispronouncing her name. She then changed her name from Shirley MacLean Beaty to Shirley MacLaine. She later had a role in "The Pajama Game", as a member of the chorus and understudy to Carol Haney. A few months into the run, Shirley was going to leave the show for the lead role in "Can-Can" but ended up filling in for Haney, who had broken her ankle and could not perform. She would fill in for Carol, again, three months later, following another injury, the very night that movie producer Hal B. Wallis was in the audience. Wallis signed MacLaine to a five-year contract to Paramount Pictures. Three months later, she was off to shoot The Trouble with Harry (1955). She then took roles in Hot Spell (1958) and Around the World in 80 Days (1956), completed not too long before her daughter, Sachi Parker (born Stephanie), was born. With Shirley's career on track, she played one of her most challenging roles: "Ginny Moorhead" in Some Came Running (1958), for which she received her first Academy Award nomination for Best Actress. She went on to do The Sheepman (1958) and The Matchmaker (1958). In 1960, she got her second Academy Award nomination for The Apartment (1960). Three years later, she received a third nomination for Irma la Douce (1963). In 1969, she brought her friend Bob Fosse from Broadway to direct her in Sweet Charity (1969), from which she got her "signature" song, "If My Friends Could See Me Now". After a five-year hiatus, Shirley made a documentary on China called The Other Half of the Sky: A China Memoir (1975), for which she received an Oscar nomination for best documentary.
In 1977, she got her fourth Best Actress Oscar nomination for The Turning Point (1977). In 1979, she worked with Peter Sellers in Being There (1979), made shortly before his death. After 20 years in the film industry, she finally took home the Best Actress Oscar for Terms of Endearment (1983). After a five-year hiatus, Shirley made Madame Sousatzka (1988), a critical and financial hit that took top prize at the Venice Film Festival. In 1989, she starred with Dolly Parton, Sally Field and Julia Roberts in Steel Magnolias (1989). She received rave reviews playing Meryl Streep's mother in Postcards from the Edge (1990) and for Guarding Tess (1994). In 1996, she reprised her role from "Terms of Endearment" as "Aurora Greenway" in The Evening Star (1996), which didn't repeat its predecessor's success at the box office. In mid-1998, she directed Bruno (2000), which starred Alex D. Linz. In February 2001, Shirley worked with close friends once again in These Old Broads (2001), and co-starred with Julia Stiles in Carolina (2003) and with Kirstie Alley in Salem Witch Trials (2002).
MacLaine as her own website which includes her own radio show and interviews, the Encounter Board, and Independent Expression, a members-only section of the site. In the past few years, Shirley starred in a CBS miniseries based on the life of cosmetics queen Mary Kay Ash--Hell on Heels: The Battle of Mary Kay (2002), and wrote two more books, "The Camino" in 2001, and "Out On A Leash" in 2003. After taking a slight hiatus from motion pictures, Shirley returned with roles in the movies that were small, but wonderfully scene-stealing: Bewitched (2005) with Nicole Kidman and Will Ferrell, In Her Shoes (2005) with Cameron Diaz and Toni Collette, in which Shirley was nominated for a Golden Globe in the best supporting actress category, and Rumor Has It... (2005) with Jennifer Aniston and Kevin Costner. Shirley completed filming of Closing the Ring (2007), directed by Sir Richard Attenborough, in 2007. Her latest book is entitled "Sage-ing While Ag-ing"; Shirley's latest film is Valentine's Day (2010), which debuted in theaters on February 12, 2010.8- Actress
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Isabelle Huppert was born March 16, 1953, in Paris, France, but spent her childhood in Ville d'Avray. Encouraged by her mother Annick Huppert (who was a teacher of English), she followed the Conservatory of Versailles and won an acting prize for her work in Alfred de Musset's "Un caprice". She then studied at the Conservatoire d'Art Dramatique and followed an illustrious theatrical career, which includes Ivan Turgenev's "A Month in the Country", Euripides' "Medea" (title role) etc. She made her movie debut in Le Prussien (1971) and soon became one of the top actresses of her generation, giving fine performances in important films, like Claude Goretta's The Lacemaker (1977), as a simple-minded girl who falls in love with - and is betrayed by - a student, Jean-Luc Godard's Every Man for Himself (1980), as a prostitute, and Maurice Pialat's Loulou (1980), as an upper-class woman who is physically attracted by a young vagabond. She made an inconsequential US debut in Otto Preminger's Rosebud (1975) before playing a brothel madam in Michael Cimino's disastrous Heaven's Gate (1980), but she fared better in Curtis Hanson's The Bedroom Window (1987) (as an adulteress who witnesses an attack). Huppert has an extremely productive collaboration with Claude Chabrol, who cast her in several movies, including Violette (1978), in which she played a woman who murders her parents, and Story of Women (1988), in which she gave an excellent performance as a shameless abortionist, the last woman to be executed in France. More recent good films include Patricia Mazuy's Saint-Cyr (2000) and Michael Haneke's controversial The Piano Teacher (2001), as a sexually repressed piano teacher.8- On Broadway from 1901, vivacious, blonde Vivian Martin was one of the first stars of the stage to be signed by the fledgling World Film Corporation in 1914 (then under the auspices of Arthur Spiegel and Lewis J. Selznick). Vivian's first step to fame had come in 1911, when the impresario George M. Cohan cast her as an ingénue for "The Only Son". She then had several back-to-back hits in romantic plays which brought her the attention of the film studios. Vivian rapidly emerged as the youngest major star at Paramount-Artcraft, even briefly regarded as a serious rival to the great Mary Pickford and dubbed "the world's sweetheart" (her other nickname was "The Dresden China Figurine"). She acted opposite most of the popular leading men of the period, including Harold Lockwood, Harrison Ford (no relation to THE Harrison Ford), Ralph Graves and Niles Welch.
She was inevitably cast as emotive, engagingly sweet, or naive mademoiselles, waifs, models, country girls and débutantes. In 1920, Vivian set up her own production company. However, the public were unwilling to accept her in more emancipated roles and her films flopped, and mounting studio rentals and an expensive lawsuit further diminished what was left of her career. Between 1926 and 1929, Vivian enjoyed a brief resurgence in marital dramas on Broadway, but not enough to resuscitate her acting prospects. By 1935, she effectively disappeared from stage and screen, but remained in public view as a philanthropist, a noted benefactor to the New York Professional Children's School. Vivian was married to Arthur H. Samuels, a former editor for The New Yorker and Harper's Bazaar.9 - Actress
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Her artistic dreams came early in life and were further supported by her older sister Gerd Andersson who became a ballet dancer at the Royal Opera and made her acting debut in 1951. Bibi, on the other side, had to make do with bit parts and commercials. She debuted in Dum-Bom (1953), playing against Nils Poppe. Eventually, she was able to start at the Royal Dramatic Theatre's acting school in 1954. A brief relationship with Ingmar Bergman made her quit school and follow him to the Malmö city theatre, where he was a director, performing in plays by August Strindberg and Hjalmar Bergman. Bergman also gave her a small part in his comedy Smiles of a Summer Night (1955), and larger roles in his Wild Strawberries (1957) and The Seventh Seal (1957). From the the 1960s she got offers from abroad, with best result in I Never Promised You a Rose Garden (1977). During the civil war in Yugoslavia she has worked with several initiatives to give the people of Sarajevo theatre and other forms of culture.10- Actress
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When Gunnar Fischer made a short in 1965 he needed a young girl, and he chose a young neighbor of his, Ewa Aulin. After winning a beauty contest she quickly got an Italian film contract which led to a string of quickly forgotten films. She got good reviews for Candy (1968) but at the age of 23, she felt that movies wasn't anything for her. She remarried, had two daughters and enrolled in university to study teaching.- Actress
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Born in Denmark, she came to Paris at 18. She met Coco Chanel and Pierre Cardin and started as a top model. She met Jean-Luc Godard about a cameo in Breathless (1960), but she had to be naked and she refused to play in the movie. One year later, they wed and she became famous with the "Nouvelle Vague" movies directed by him, Jacques Rivette, and Agnès Varda.
In 1967, Serge Gainsbourg wrote his only film musical Anna (1967) for her, with the hit "Sous le soleil exactement". Then, she went to Hollywood for a few movies and came back to Paris. She wrote and directed Vivre ensemble (1973) after her divorce from Pierre Fabre. She later remarried, to Dennis Berry.- Actress
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With prominent cheekbones, luminous skin and the most crystalline green eyes of her day, Gene Tierney's striking good looks helped propel her to stardom. Her best known role is the enigmatic murder victim in Laura (1944). She was also Oscar-nominated for Leave Her to Heaven (1945). Her acting performances were few in the 1950s as she battled a troubled emotional life that included hospitalization and shock treatment for depression.
Gene Eliza Tierney was born on November 19, 1920 in Brooklyn, New York, to well-to-do parents, Belle Lavinia (Taylor) and Howard Sherwood Tierney. Her father was a successful insurance broker and her mother was a former teacher. Her childhood was lavish indeed. She also lived, at times, with her equally successful grandparents in Connecticut and New York. She was educated in the finest schools on the East Coast and at a finishing school in Switzerland.
After two years in Europe, Gene returned to the US where she completed her education. By 1938 she was performing on Broadway in What a Life! and understudied for the Primrose Path (1938) at the same time. Her wealthy father set up a corporation that was only to promote her theatrical pursuits. Her first role consisted of carrying a bucket of water across the stage, prompting one critic to announce that "Miss Tierney is, without a doubt, the most beautiful water carrier I have ever seen!" Her subsequent roles Mrs O'Brian Entertains (1939) and RingTwo (1939) were meatier and received praise from the tough New York critics. Critic Richard Watts wrote "I see no reason why Miss Tierney should not have a long and interesting theatrical career, that is if the cinema does not kidnap her away."
After being spotted by the legendary Darryl F. Zanuck during a stage performance of the hit show The Male Animal (1940), Gene was signed to a contract with 20th Century-Fox. Her first role as Barbara Hall in Hudson's Bay (1940) would be the send-off vehicle for her career. Later that year she appeared in The Return of Frank James (1940). The next year would prove to be a very busy one for Gene, as she appeared in The Shanghai Gesture (1941), Sundown (1941), Tobacco Road (1941) and Belle Starr (1941). She tried her hand at screwball comedy in Rings on Her Fingers (1942), which was a great success. Her performances in each of these productions were masterful. In 1945 she was nominated for a Best Actress Oscar for her portrayal of Ellen Brent in Leave Her to Heaven (1945). Though she didn't win, it solidified her position in Hollywood society. She followed up with another great performance as Isabel Bradley in the hit The Razor's Edge (1946).
In 1944, she played what is probably her best-known role (and, most critics agree, her most outstanding performance) in Otto Preminger's Laura (1944), in which she played murder victim named Laura Hunt. In 1947 Gene played Lucy Muir in the acclaimed The Ghost and Mrs. Muir (1947). By this time Gene was the hottest player around, and the 1950s saw no letup as she appeared in a number of good films, among them Night and the City (1950), The Mating Season (1951), Close to My Heart (1951), Plymouth Adventure (1952), Personal Affair (1953) and The Left Hand of God (1955). The latter was to be her last performance for seven years. The pressures of a failed marriage to Oleg Cassini, the birth of a daughter with learning disabilities in 1943, and several unhappy love affairs resulted in Gene being hospitalized for depression. When she returned to the the screen in Advise & Consent (1962), her acting was as good as ever but there was no longer a big demand for her services.
Her last feature film was The Pleasure Seekers (1964), and her final appearance in the film industry was in a TV miniseries, Scruples (1980). Gene died of emphysema in Houston, Texas, on November 6, 1991, just two weeks shy of her 71st birthday.- Actress
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Discovered at age 20 by celebrated director Ingmar Bergman, she became part of Bergman's regular stable of performers; in fact, he wrote Summer with Monika (1953) especially for her breakthrough. Extraordinary and versatile as an actress, her roles have ranged from the naive young wife in Sawdust and Tinsel (1953) to the mad visionary in Through a Glass Darkly (1961). Andersson also appeared in Fanny and Alexander (1982), Bergman's last film. After that she has appeared in a number of feature films and TV series in Sweden. Her autobiography was published in 2005.- Actress
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She graduated in 1957 after which she went to work to the National Theatre. Her first role was Solveig in Peer Gynt. She was a student in the College when Zoltan Fabri gave her the main character cast in the film: Korhinta (1955). She is a well-balanced (sense and sensibility) actress, who can act so many characters. She awarded with Kossuth award and 'Kivalo muvesz'.- Actress
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Macha Méril was born on 3 September 1940 in Rabat, French Protectorate in Morocco [now Morocco]. She is an actress and producer, known for Deep Red (1975), Belle de Jour (1967) and Vagabond (1985). She was previously married to Michel Legrand and Gian Vittorio Baldi.