(9H)*Carole Lombard and a few men
Carole Lombard has worked with these men.
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- Lyle Talbot, who appeared in over 150 movies from leads in Warner Bros.' "pre-Code" pictures to countless supporting roles, and later enjoyed a steady TV career as a character actor, was born Lysle Henderson on February 8, 1902, in Pittsburgh, Pennsylvania. He grew up in a small town in Nebraska, where after the early death of his mother, he was raised by her mother, Mary Hollywood Talbot, whose name he later bore professionally.
Talbot's incredibly long and varied show-business career began right after high school, when he joined a traveling tent show. Starting out as a magician-hypnotist's assistant, he worked his way up to magician before quitting the carny's life for that of the stock theater. He learned to act with stock companies throughout the Midwest, where he became a leading man, and even formed his own short-lived company in Memphis, Tennessee, "The Talbot Players," which included his actor father and stepmother, Ed and Anna Henderson.
By 1931 he was in Hollywood as the talkies were maturing. He had the good looks of a star but, more importantly, he had a rich baritone voice that the talkies needed. After a screen test in which he inadvertently mocked Warner Bros. production head Darryl Zanuck but impressed director William "Wild Bill" Wellman, Talbot was signed by Warner Bros.-First National. The studio gave him a plum part in William A. Wellman's Love Is a Racket (1932) co-staring with Douglas Fairbanks Jr., Ann Dvorak and the fast-talking Lee Tracy. He appeared in "A" pictures in the 1930s in supporting roles, including Three on a Match (1932), 20,000 Years in Sing Sing (1932), and One Night of Love (1934) (with opera star Grace Moore), but his work was mostly in "B" pictures, in which he frequently played leads. Although he thoroughly enjoyed the work, acting was practiced as an assembly line operation at the time. Actors would be assigned work usually based on 12-hour days and six-day weeks, and commit themselves to the infamous seven-year exclusive contract that included draconian suspension penalties in the fine print. Talbot, along with James Cagney, Olivia de Havilland and Bette Davis (ironically all WB contract players), were outspoken in their commitment to change working conditions for actors. Talbot was one of the founders of the Screen Actors Guild and the first employee of the Brothers Warners to join the union, much to their ire.
As a matinee idol during the Depression, frequently playing a gangster or tuxedo-clad man about town, Talbot co-starred with the leading actresses of the day, including Ginger Rogers, Mary Astor, Bette Davis, Barbara Stanwyck, Glenda Farrell, Kay Francis, Mae West, Ann Dvorak, Loretta Young, Carole Lombard and Shirley Temple.
Later, as a character actor, Talbot appeared as Commissioner Gordon in the 1949 serial Batman and Robin (1949) and was Lex Luthor in Atom Man vs. Superman (1950) the next year. Talbot took on a tremendous number of roles, either because he was not discriminating enough, always wanted to keep working, or simply appreciated the money. In the early 1950s he appeared in several of Edward D. Wood Jr.'s most notorious films, including the infamous transvestite tear-jerker Glen or Glenda (1953) and the famously inept Plan 9 from Outer Space (1957). Aside from Bela Lugosi, Talbot was Wood's most famous star.
Talbot's acting career thrived on television, in which he appeared from the beginning of the medium until the 1980s. He co-starred as Ozzie Nelson's friend Joe Randolph on The Adventures of Ozzie and Harriet (1952) and as Robert Cummings' Air Force buddy in The Bob Cummings Show (1955) (also known as "Love that Bob") and made guest appearances on a plethora of TV series, including Leave It to Beaver (1957), The Lone Ranger (1949), Topper (1953), The George Burns and Gracie Allen Show (1950), Perry Mason (1957), Rawhide (1959), Wagon Train (1957), The Beverly Hillbillies (1962), Green Acres (1965), Charlie's Angels (1976), Newhart (1982), The Dukes of Hazzard (1979) and Who's the Boss? (1984).
Throughout his film and TV career, Talbot continued to perform on stage, co-starring in "Separate Rooms" on Broadway in the early 1940s and starring in national touring companies of Neil Simon's "The Odd Couple" and summer stock tours of Gore Vidal's "The Best Man" and Thornton Wilder's "The Matchmaker." In 1967 he co-starred in a revival of "South Pacific" at New York's Lincoln Center with Florence Henderson.
Lyle Talbot died of natural causes on March 3, 1996, in his home in San Francisco, California, at the age of 94, the last of the SAG founders to shuffle off this mortal coil.No More Orchids (1932). '32. CL - Actor
- Producer
- Director
Buck Jones was one of the greatest of the "B" western stars. Although born in Indiana, Jones reportedly (but disputedly) grew up on a ranch near Red Rock in Indian Territory (now Oklahoma), and there learned the riding and shooting skills that would stand him in good stead as a hero of Westerns. He joined the army as a teenager and served on US-Mexican border before seeing service in the Moro uprising in the Philippines. Though wounded, he recuperated and re-enlisted, hoping to become a pilot. He was not accepted for pilot training and left the army in 1913. He took a menial job with the Miller Brothers 101 Ranch Wild West Show and soon became champion bronco buster for the show. He moved on to the Julia Allen Show, but with the beginning of the First World War, Jones took work training horses for the Allied armies. After the war, he and his wife, Odelle Osborne, whom he had met in the Miller Brothers show, toured with the Ringling Brothers circus, then settled in Hollywood, where Jones got work in a number of Westerns starring Tom Mix and Franklyn Farnum. Producer William Fox put Jones under contract and promoted him as a new Western star. He used the name Charles Jones at first, then Charles "Buck" Jones, before settling on his permanent stage name. He quickly climbed to the upper ranks of Western stardom, playing a more dignified, less gaudy hero than Mix, if not as austere as William S. Hart. With his famed horse Silver, Jones was one of the most successful and popular actors in the genre, and at one point he was receiving more fan mail than any actor in the world. Months after America's entry into World War II, Jones participated in a war-bond-selling tour. On November 28, 1942, he was a guest of some local citizens in Boston at the famed Coconut Grove nightclub. Fire broke out and nearly 500 people died in one of the worst fire disasters on record. Jones was horribly burned and died two days later before his wife Dell could arrive to comfort him. Although legend has it that he died returning to the blaze to rescue others (a story probably originated by producer Trem Carr for whatever reason), the actual evidence indicates that he was trapped with all the others and succumbed as most did, trying to escape. He remains, however, a hero to thousands who followed his film adventures.- Actor
- Producer
- Soundtrack
William Clark Gable was born on February 1, 1901 in Cadiz, Ohio, to Adeline (Hershelman) and William Henry Gable, an oil-well driller. He was of German, Irish, and Swiss-German descent. When he was seven months old, his mother died, and his father sent him to live with his maternal aunt and uncle in Pennsylvania, where he stayed until he was two. His father then returned to take him back to Cadiz. At 16, he quit high school, went to work in an Akron, Ohio, tire factory, and decided to become an actor after seeing the play "The Bird of Paradise". He toured in stock companies, worked oil fields and sold ties. On December 13, 1924, he married Josephine Dillon, his acting coach and 15 years his senior. Around that time, they moved to Hollywood, so that Clark could concentrate on his acting career. In April 1930, they divorced and a year later, he married Maria Langham (a.k.a. Maria Franklin Gable), also about 17 years older than him.
While Gable acted on stage, he became a lifelong friend of Lionel Barrymore. After several failed screen tests (for Barrymore and Darryl F. Zanuck), Gable was signed in 1930 by MGM's Irving Thalberg. He had a small part in The Painted Desert (1931) which starred William Boyd. Joan Crawford asked for him as co-star in Dance, Fools, Dance (1931) and the public loved him manhandling Norma Shearer in A Free Soul (1931) the same year. His unshaven lovemaking with bra-less Jean Harlow in Red Dust (1932) made him MGM's most important star.
His acting career then flourished. At one point, he refused an assignment, and the studio punished him by loaning him out to (at the time) low-rent Columbia Pictures, which put him in Frank Capra's It Happened One Night (1934), which won him an Academy Award for his performance. The next year saw a starring role in Call of the Wild (1935) with Loretta Young, with whom he had an affair (resulting in the birth of a daughter, Judy Lewis). He returned to far more substantial roles at MGM, such as Fletcher Christian in Mutiny on the Bounty (1935) and Rhett Butler in Gone with the Wind (1939).
After divorcing Maria Langham, in March 1939 Clark married Carole Lombard, but tragedy struck in January 1942 when the plane in which Carole and her mother were flying crashed into Table Rock Mountain, Nevada, killing them both. A grief-stricken Gable joined the US Army Air Force and was off the screen for three years, flying combat missions in Europe. When he returned the studio regarded his salary as excessive and did not renew his contract. He freelanced, but his films didn't do well at the box office. He married Sylvia Ashley, the widow of Douglas Fairbanks, in 1949. Unfortunately this marriage was short-lived and they divorced in 1952. In July 1955 he married a former sweetheart, Kathleen Williams Spreckles (a.k.a. Kay Williams) and became stepfather to her two children, Joan and Adolph ("Bunker") Spreckels III.
On November 16, 1959, Gable became a grandfather when Judy Lewis, his daughter with Loretta Young, gave birth to a daughter, Maria. In 1960, Gable's wife Kay discovered that she was expecting their first child. In early November 1960, he had just completed filming The Misfits (1961), when he suffered a heart attack, and died later that month, on November 16, 1960. Gable was buried shortly afterwards in the shrine that he had built for Carole Lombard and her mother when they died, at Forest Lawn Cemetery.
In March 1961, Kay Gable gave birth to a boy, whom she named John Clark Gable after his father.- Actor
- Director
- Writer
Ramon Novarro was born José Ramón Gil Samaniego on February 6, 1899 in Durango, Mexico, to Leonor (Gavilan) and Dr. Mariano N. Samaniego Siqueiros, a prosperous dentist. Ramon and his family moved to Los Angeles in 1913, as refugees from the Mexican Revolution. After stints as a ballet dancer, piano teacher and singing waiter, he became a film extra in 1917. For five years he remained an extra until director Rex Ingram cast him as Rupert in The Prisoner of Zenda (1922). He was cast with Lewis Stone and Ingram's wife, Alice Terry (Ingram was also the person who suggested that he change his name to Novarro). He worked with Ingram in his next four films and was again teamed with Terry in the successful Scaramouche (1923). Novarro's rising popularity among female moviegoers resulted in his being billed as the "New Valentino". In 1925 he appeared in his most famous role, as the title character in Ben-Hur: A Tale of the Christ (1925), and later co-starred with Norma Shearer in The Student Prince in Old Heidelberg (1927). His first talking picture was Call of the Flesh (1930), where he sang and danced the tango. He continued to appear in musicals, but his popularity was slipping. He starred with Greta Garbo in the successful Mata Hari (1931), but his career began to fade fast. In 1935 he left MGM and appeared on Broadway in a show that quickly flopped. His later career, when he was able to find work in films, consisted mostly of cameos. On October 30th, 1968, Ramon Novarro was savagely beaten in his North Hollywood home by two young hustlers. They had heard - in error - that he had thousands of dollars locked away somewhere in his home. They never found any money, and Ramon was discovered dead the next day by his servant.- Producer
- Actor
- Director
Robert Montgomery was born Henry Montgomery Jr., the elder son of New York businessman Henry Montgomery and his wife, Mary Weed (Barney), a native of Brooklyn, Kings County, New York. Montgomery had a younger brother, Donald. He was not related to Belinda Montgomery.
As a child, he enjoyed a privileged life. His father, Henry Montgomery, was the president of the New York Rubber Co. When Henry Montgomery died and owing to the Depression, the family fortune was gone. Henry Jr. and his younger brother, Donald, worked at a number of jobs. He later went to New York to be a writer, and on the advice of a friend, tried acting. He worked with George Cukor on the stage and his first film, at MGM, was So This Is College (1929), changing his forename.
When Norma Shearer picked him to be her leading man in Private Lives (1931), he was set. He ran the gamut of different characters over the years. He served as President of the Screen Actors Guild from 1935-38 and 1946-47.. His stay with MGM lasted 16 years, and was only interrupted by WWII when he joined the navy. He saw action in both Europe and the Pacific.
He returned to MGM in 1945 and co-starred with John Wayne in the John Ford-directed They Were Expendable (1945) and then made his directorial debut with Lady in the Lake (1946) (although he had directed a few scenes, uncredited, in They Were Expendable (1945) when John Ford took ill). He left MGM to become an independent director, preferring work behind the camera instead of in front.
A staunch Republican, he was a friendly witness before the House Un-American Activities in 1947 during the McCarthy era and then spent most of his time on television and stage. His popular show, Robert Montgomery Presents (1950), was where his daughter, Elizabeth Montgomery (who later gained lasting fame as beautiful witch Samantha Stevens on Bewitched (1964)), got her first acting job.
Robert Montgomery died of cancer on September 27, 1981, aged 77, at Columbia-Presbyterian Hospital in Manhattan, New York City. His body was cremated and the ashes were given to the family.Mr. & Mrs. Smith (1941). '41. CL- Actor
- Director
- Soundtrack
Born to a Czech mother and a Serbian father in Chicago as Mladen Sekulovich, on March 22, 1912, Karl Malden did not speak English until he was in kindergarten. After graduating from high school in the nearby steel town of Gary, Indiana, Malden worked in the industry for three years until 1934, when he was frustrated with the drudgery of manual labor. He left to attend the Arkansas State Teacher's College, then the Goodman Theater Dramatic School and never looked back. Three years later, he went to New York City to find fame.
Malden rapidly became involved with the Group Theater, an organization of actors and directors who were changing the face of theater, where he attracted the attention of director Elia Kazan. With Kazan directing, Karl starred in plays such as "All My Sons" by Arthur Miller and "A Streetcar Named Desire" by Tennessee Williams. While Malden had one screen appearance before his military service in World War II, in They Knew What They Wanted (1940), he did not establish his film career until after the war. Malden won the Oscar for Best Supporting Actor as Mitch in A Streetcar Named Desire (1951) and showed his range as an actor in roles such as that of Father Corrigan in On the Waterfront (1954) and the lecherous Archie Lee in Baby Doll (1956).
He starred in dozens of films such as Fear Strikes Out (1957), Pollyanna (1960), Birdman of Alcatraz (1962), Gypsy (1962), How the West Was Won (1962), The Cincinnati Kid (1965), and Patton (1970) as General Omar Bradley. In the early 1970s, he built a television career on the tough but honest screen persona he had created when he starred as Detective Mike Stone on The Streets of San Francisco (1972), co-starring with Michael Douglas. He also became the pitchman for American Express, a position he held for 21 years. In 1988, he was elected President of the Academy of Motion Picture Arts and Sciences, a position he held for five years. Following that he, published his memoir entitled, "When Do I Start?: A Memoir", written with his daughter Carla.
Malden also courted controversy by pushing for a special salute to Elia Kazan at the 1999 Academy Awards. Malden defended both Kazan and the award, arguing that Kazan's artistic achievements outshone any shame attached to Kazan's naming names before the Congressional committee investigating Communists in Hollywood. Marlon Brando refused to give Kazan the statuette; Robert De Niro ultimately did. Karl Malden died at age 97 of natural causes at his home in Los Angeles on July 1, 2009. He was buried at Westwood Village Memorial Park Cemetery in Westwood, California.They Knew What They Wanted- Actor
- Soundtrack
Brian Aherne was an Oscar-nominated Anglo-American stage and screen actor who was one of the top cinema character actors in the 1930s, 1940s and 1950s. Born on May 2, 1902, in Kings Norton, Worcestershire, England, Aherne performed as an actor as a child. At age 18, he made his debut as an adult with the company that would evolve into the world-famous Birmingham Repertory Theatre. Three years later, he made his debut in London's West End, the English equivalent of Broadway. After his experience in Birmingham, Aherne studied architecture, but a life as an actor was too strong to resist, so he returned to the theater in 1923. For the next eight years, he toured the provinces and appeared in the West End in various productions. In 1931, he made his Broadway debut playing Robert Browning in "The Barretts of Wimpole Street." He alternated between the New York and London stage in the early 1930s. Aherne made his movie debut in 1924, and in the mid-1930s, he moved to Hollywood. In 1940, he was nominated for an Academy Award as Best Supporting Actor for Juarez (1939) for playing the Emperor Maximilian. Brian Aherne published his autobiography in 1969, and 10 years later, he published a biography of his friend George Sanders, entitled "A Dreadful Man." He died at age 83 of heart failure on February 10, 1986, in Venice, Florida.Vigil in the Night (1940). '40. CL- Actor
- Soundtrack
Robert Armstrong is familiar to old-movie buffs for his case-hardened, rapid-fire delivery in such roles as fast-talking promoters, managers, FBI agents, street cops, detectives and other such characters in scores of films--over 160--many of them at Warner Brothers, where he was part of the so-called "Warner Brothers Stock Company" that consisted of such players as James Cagney, Pat O'Brien, Frank McHugh, Alan Hale and Humphrey Bogart, among others.
Although he could easily be taken for having grown up in a tough area of Brooklyn or the Bronx, he was actually from the Midwest. He was born in Saginaw, Michigan, in 1890, and his father owned a small and profitable flotilla of boats for use on Lake Michigan. Hearing the Siren call of the gold fields in late 19th-century Alaska, however, he packed up the family and headed west. A typical staging place to start north was in Washington state, and the family settled in Seattle. Robert spent a short hitch in the infantry during World War I. Afterwards he decided to go into law and started to study at the University of Washington. However, it wasn't long before that he decided he had a gift for acting and--perhaps influenced by his uncle, playwright and producer Paul Armstrong--decided to follow that path. He hooked up with future Hollywood character actor James Gleason, known to everyone as "Jimmy", who worked for a variety of playhouses in California and Oregon and who was heir to his parents' stock company, which toured across the US. Armstrong joined Gleason's company and returned with them to New York. He started from the bottom up, learning the craft of acting. After moving on to leading roles, he received the prime part in Gleason's own play "Is Zat So?" (1925-1926), a particularly successful play among several he had written (he also directed and produced plays on Broadway into 1928).
Hollywood scouts were watching, and Armstrong found himself with a film contract. He appeared in approximately 10 films in 1928 alone, and after the first five he was able, with the advent of sound, to give voice to the take-charge, mile-a-minute, clenched-teeth delivery that would make him one of the busiest character men in Hollywood--and right alongside him in several of his early 1930s features was his old friend and boss Jimmy Gleason.
It was in 1932 that Armstrong became acquainted with an ambitious and adventurous pair of Hollywood filmmakers. Both were World War I fliers, big-game hunters and animal trappers, and partners in high adventure documentaries, Merian C. Cooper and Ernest B. Schoedsack had found a friend in rising producer David O. Selznick, who brought them on board at RKO, with Cooper as production idea man. Schoedsack was the technical side of the pair, knowledgeable about the actual physical and technical side of filmmaking, , and became the actual director of their projects, with Cooper as an associate producer and sometime co-director. They turned out what would be the first of a string of horror-tinged adventure movies, The Most Dangerous Game (1932), with Armstrong having a part in it. He got in his usual wisecrack lines but from a less dimensioned character who had an early demise--the film centered on Joel McCrea and still young silent screen veteran Fay Wray. Cooper saw much of himself in Armstrong's general personality and wanted him for a film that he had been wanting to make for quite a few years, an adventure yarn dealing with the stories he had heard during his years making films in jungles all over the world of giant, vicious apes. The resulting film, King Kong (1933), would put Armstrong at stage center as big-time promoter Carl Denham (very much Cooper himself). The film also began co-star Fay Wray on the road to stardom. With Copper and Schoedsack co-directing and the legendary Willis H. O'Brien heading up a visual effects team supporting his for-the-time astounding animated miniature sequences, the film was a treasure trove for RKO, bringing newfound respect for a studio known mostly for its "B" action films and westerns. It was Armstrong's defining moment and set the stage for the plethora of leading man and second lead roles he would play through the 1930s.
A sequel, Son of Kong (1933), followed almost immediately with the same production team and, though not achieving the critical or box-office acclaim as its predecessor, showcased another Armstrong strength--a great sense of comedic timing that had been evident, but not really traded upon, in previous films. The Cooper/Schoedsack team got in one more for 1933, with Armstrong as an uncommon--for him--romantic lead in Blind Adventure (1933), a fast-paced but but often uneven adventure yarn. All the studios wanted him, and what followed was a flood of usually good, crowd-pleasing roles, although still in "B" pictures. Among the better ones were Palooka (1934) and 'G' Men (1935), with Armstrong playing a hard-nosed FBI agent who is mentor and partner to a young James Cagney. With a full menu of adventure yarns and colorful cop and military roles, at the end of the decade Armstrong even played one of America's great folk heroes - Jim Bowie - in Man of Conquest (1939), this time at Republic Pictures.
Armstrong got more of the same in the decade of World War II--although with age he started to slip down the cast list--with some variety, playing a Nazi agent in the spoof My Favorite Spy (1942) and--in somewhat ridiculous "Japanese" makeup--as a Japanese secret-police colonel (named Tojo) with former co-star James Cagney in the escapist romp Blood on the Sun (1945). Finally, Cooper--gorillas still on his mind--came calling for Armstrong again for his Mighty Joe Young (1949), which he made about midway in his association with partner John Ford in their Argosy Pictures venture under the wing of RKO. Armstrong was again a reincarnation of Carl Denham as Max O'Hara, a fast-talking promoter looking for a sensation in "Darkest Africa". The Ford touch is perhaps seen in the cowboys who go along with young Ben Johnson as romantic lead to enthusiastic--to say the least--Terry Moore with her pet gorilla Joe (about half as big as King Kong but definitely no ordinary gorilla). It is a great little movie, with more light-hearted tone than "Kong" and a red-tinted fire scene recalling the silents. It was a Saturday matinée favorite for at least a decade afterward (this writer enjoyed it as his first movie theater adventure as a small child).
Armstrong increasingly went to the small screen through the 1950s. He was a familiar face on most of the TV playhouse programs of the period and did many of the series oaters and crime shows of the period. He received a great send-up as a guest on Red Skelton's variety show when the oft giggling host asked him, "Say, did you ever get that monkey off that building?" Armstrong liked keeping busy and helping friends. One of the latter was Cooper--still promoting as his alter ego Carl Denham in his old age. The two passed away within 24 hours of one another in April of 1973.- Actor
- Additional Crew
Lionel Atwill was born into a wealthy family and was educated at London's prestigious Mercer School to become an architect, but his interest turned to the stage. He worked his way progressively into the craft and debuted at age 20 at the Garrick Theatre in London. He acted and improved regularly thereafter, especially in the plays of Henrik Ibsen and George Bernard Shaw. Atwill came to the US in 1915 and would appear in some 25 plays on Broadway between 1917 and 1931, but he was already trying his hand in silent films by 1918. He had a sonorous voice and dictatorial British accent that served him well for the stage and just as well for sound movies. He did some Vitaphone short subjects in 1928 and then his first real film role in The Silent Witness (1932) (also titled "The Verdict").
That voice and his bullish demeanor made Atwill a natural for a spectrum of tough-customer roles. As shady noblemen and mad doctors, but also gruff military men and police inspectors (usually with a signature mustache), he worked steadily through the 1930s. He had the chance to show a broader character as the tyrannical but unforgettable Col. Bishop in Captain Blood (1935). It's hard to forget his Inspector Krogh in Son of Frankenstein (1939), wherein he agrees to a game of darts with Basil Rathbone and proceeds to impale the darts through the right sleeve of his uniform (the character sported a wooden right arm). And he sends himself up with rolling and blustering dialogue as the glory-hog ham stage actor Rawitch in the classic To Be or Not to Be (1942) with Jack Benny. However, Atwill effectively ruined his burgeoning film career in 1943 after he was implicated in what was described as an "orgy" at his home, naked guests and pornographic films included--and a rape perpetrated during the proceedings. Atwill "lied like a gentleman," it was said, in the court proceedings to protect the identities of his guests and was convicted of perjury and sentenced to five years' probation.
He was thereafter kept employed on Poverty Row with only brief periods of employment by Universal Pictures, while the rest of Hollywood turned its collective back on him. He is more remembered for the horror films generally than for better efforts, but they have fueled his continued popularity and a bid by the Southern California Lionel Atwill Fan Club to petition for a Hollywood Blvd. star (he never received one).To Be or Not To Be, '42.- Actor
- Writer
- Soundtrack
John Barrymore was born John Sidney Blyth on February 15, 1882 in Philadelphia, Pennsylvania. An American stage and screen actor whose rise to superstardom and subsequent decline is one of the legendary tragedies of Hollywood. A member of the most famous generation of the most famous theatrical family in America, he was also its most acclaimed star. His father was Maurice Blyth (or Blythe; family spellings vary), a stage success under the name Maurice Barrymore. His mother, Georgie Drew, was the daughter of actor John Drew. Although well known in the theatre, Maurice and Georgie were eclipsed by their three children, John, Lionel Barrymore, and Ethel Barrymore, each of whom became legendary stars. John was handsome and roguish. He made his stage debut at age 18 in one of his father's productions, but was much more interested in becoming an artist.
Briefly educated at King's College, Wimbledon, and at New York's Art Students League, Barrymore worked as a freelance artist and for a while sketched for the New York Evening Journal. Gradually, though, the draw of his family's profession ensnared him, and by 1905, he had given up professional drawing and was touring the country in plays. He survived the 1906 San Francisco earthquake, and in 1909, became a major Broadway star in "The Fortune Hunter". In 1922, Barrymore became his generation's most acclaimed "Hamlet", in New York and London. But by this time, he had become a frequent player in motion pictures. His screen debut supposedly came in An American Citizen (1914), though records of several lost films indicate he may have made appearances as far back as 1912. He became every bit the star of films that he was on stage, eclipsing his siblings in both arenas.
Though his striking matinee-idol looks had garnered him the nickname "The Great Profile", he often buried them under makeup or distortion in order to create memorable characters of degradation or horror. He was a romantic leading man into the early days of sound films, but his heavy drinking (since boyhood) began to take a toll, and he degenerated quickly into a man old before his time. He made a number of memorable appearances in character roles, but these became over time more memorable for the humiliation of a once-great star than for his gifts. His last few films were broad and distasteful caricatures of himself, though in even the worst, such as Playmates (1941), he could rouse himself to a moving soliloquy from "Hamlet". He died on May 29, 1942, mourned as much for the loss of his life as for the loss of grace, wit, and brilliance which had characterized his career at its height.- Editor
- Editorial Department
- Producer
- Actor
- Soundtrack
Ralph Bellamy was a veteran actor who was so well-liked and respected by his peers that he was the recipient of an honorary Oscar in 1987 for his contributions to the acting profession.
Ralph Rexford Bellamy was born June 17, 1904 in Chicago, Illinois, the son of Lilla Louise (Smith), originally from Hamilton, Ontario, Canada, and Charles Rexford Bellamy, who had deep roots in New England. Bellamy began his career as a player right out of high school in 1922, joining a traveling company that put on Shakespearean plays. For the next five years he appeared with stock companies and repertory theaters associated with the Chautauqua Road Co., which brought culture to the hinterlands. He not only learned his craft but by 1927 wound up owning his own theatrical troupe. Two years later he made his Broadway theatrical debut in "Town Boy" (29 years later he would win a Tony Award).
Bellamy made the first of his over 100 films in 1933, appearing as a gangster in The Secret 6 (1931). While he never became a major star or played many leads in "A" pictures, he made a career out of playing second-leads in major productions before developing into a character actor. In his heyday he typically played a rich but dull character who is jilted by the leading lady (he won his only Oscar nomination, for Best Supporting Actor, for just such a role in the 1937 comedy The Awful Truth (1937), in which he lost Irene Dunne to Cary Grant). He also specialized in redoubtable detectives who always find their man (he starred as Ellery Queen in a series of four "B" movies) and as slightly sinister yet stylish villains (such typecasting reaching its apogee with his turn as the not-so-kindly doctor in the horror classic Rosemary's Baby (1968)).
Bellamy's greatest role was as Franklin D. Roosevelt in Dore Schary's play "Sunrise at Campobello," for which he won a 1958 Best Actor-Dramatic Tony Award. He also reprised his portrayal of Roosevelt in Schary's 1960 movie adaptation of his play Sunrise at Campobello (1960), which brought his co-star Greer Garson a Golden Globe award and a Best Actress Academy Award nomination for playing Eleanor Roosevelt.
To play F.D.R. and show his struggle with the onset of polio, Bellamy studied up on Roosevelt as both man and politician, gaining an insight into the future president's psyche. Like Method actors Marlon Brando and Jon Voight, who prepared for their portrayals of paraplegic war veterans in the movies The Men (1950) and Coming Home (1978) by living in veterans hospitals with paraplegics, Bellamy tried to understand the trauma that F.D.R. underwent and the challenges he faced. Bellamy spent a considerable amount of time at a rehabilitation center learning how to master leg braces, crutches and a wheelchair to increase the verisimilitude of his portrayal of Rosevelt. So successful was his portrait of Roosevelt that he was called upon a generation later to recreate F.D.R. for the blockbuster TV miniseries War and Remembrance (1988) (ironically, Voight himself would later play F.D.R. in the movie Pearl Harbor (2001)).
Bellamy also had a prolific career on television, beginning with his 1948 debut in The Philco Television Playhouse (1948). He starred in one of the first TV police shows, Man Against Crime (1949), which was on the air from 1949-54, and later had roles in several other TV series, including The Eleventh Hour (1962), The Survivors (1969) and The Most Deadly Game (1970). He also appeared in countless TV-movies and tele-plays, and was three times nominated for an Emmy Award.
Known as a champion of actors' rights, Bellamy was one of the founders of the Screen Actors Guild, and also served four terms as President of Actors' Equity from 1952 to 1964. He took office during some of the darkest days of McCarthyism, but positioned Actors' Equity and thus, the Broadway theater to the left of Hollywood by resisting blacklisting. Many of those blacklisted in Hollywood found homes in the theater. Under Bellamy, Actors Equity established standards to protect members against charges of Communist Party membership or "exhibiting left-wing sympathies". (One of the charges levied against legendary stage and film director Elia Kazan, including Rod Steiger at the time Kazan received an honorary Oscar, was that he should have defied the House Un-American Activities Committee and not have named names because he could have remained employed in the theater even if he had been blacklisted in Hollywood.)
Under Bellamy's leadership, Actor's Equity managed to double its assets within the first six years of his presidency and was successful in establishing the first pension fund for actors. It was for his services to the acting community that he was the recipient of an honorary Academy Award in 1987.
Ralph Bellamy died on November 29, 1991 in Santa Monica, California. He was 87 years old.Hands Across the Table, '35
Fools for Scandal., ''38- Actor
- Producer
- Soundtrack
The son of a saloon keeper, Jack Benny (born Benny Kubelsky) began to study the violin at the age six, and his "ineptness" at it, would later become his trademark (in reality, he was a very accomplished player). When given the opportunity to play in live theatre professionally, Benny quit school and joined vaudeville. In the same theatre that Benny was working with were the very young The Marx Brothers. Their mother, Minnie Marx, wanted Benny to go on the road with them. However, this plan was foiled by his parents who would not let their 17-year-old son on the road.
Having a successful vaudeville career, Benny also had a greater career on radio for "The Jack Benny Program". The show was one of the few successful radio programs that also became a successful television show.
Benny also starred in several movies, including The Hollywood Revue of 1929 (1929), Broadway Melody of 1936 (1935), The Horn Blows at Midnight (1945) and George Washington Slept Here (1942), although he had much greater success on radio and on TV than he did on the big screen.
He was good friends with Fred Allen, with whom he had a long-standing comic "feud".To Be or Not to Be (1942). '42. CL- Actor
- Soundtrack
American character actor of gruff voice and appearance who was a fixture in Hollywood pictures from the earliest days of the talkies. The fifth of seven children, he was born in the first minute of 1891. He was a boisterous child, and at nine was tried and acquitted for attempted murder in the shooting of a motorman who had run over his dog. He worked as a lumberjack and investment promoter, and briefly ran his own pest extermination business. In his late teens, he gave up the business and traveled aimlessly about country. In San Francisco, an attempt to romance a burlesque actress resulted in an offer to join her show as a performer. He spent the next dozen years touring the country in road companies, then made a smash hit on Broadway in "Outside Looking In". Cecil B. DeMille saw Bickford on the stage and offered him the lead in Dynamite (1929). Contracted to MGM, Bickford fought constantly with studio head Louis B. Mayer and was for a time blacklisted among the studios. He spent several years working in independent films as a freelancer, then was offered a contract at Twentieth Century Fox. Before the contract could take effect, however, Bickford was mauled by a lion while filming 'East of Java (1935)'. He recovered, but lost the Fox contract and his leading man status due to the extensive scarring of his neck and also to increasing age. He continued as a character actor, establishing himself as a character star in films like The Song of Bernadette (1943), for which he received the first of three Oscar nominations. Burly and brusque, he played heavies and father figures with equal skill. He continued to act in generally prestigious films up until his death in 1967.White Woman, '33- Actor
- Soundtrack
Gruff, burly American character actor. Born in 1903 in Benkelman, Nebraska (confirmed by Social Security records; sources stating 1905 or Denver, Colorado are in error.) Bond grew up in Denver, the son of a lumberyard worker. He attended the University of Southern California, where he got work as an extra through a football teammate who would become both his best friend and one of cinema's biggest stars: John Wayne. Director John Ford promoted Bond from extra to supporting player in the film Salute (1929), and became another fast friend. An arrogant man of little tact, yet fun-loving in the extreme, Bond was either loved or hated by all who knew him. His face and personality fit perfectly into almost any type of film, and he appeared in hundreds of pictures in his more than 30-year career, in both bit parts and major supporting roles. In the films of Wayne and Ford, particularly, he was nearly always present. Among his most memorable roles are John L. Sullivan in Gentleman Jim (1942), Det. Tom Polhaus in The Maltese Falcon (1941) and the Rev. Capt. Samuel Johnson Clayton The Searchers (1956). An ardent but anti-intellectual patriot, he was perhaps the most vehement proponent, among the Hollywood community, of blacklisting in the witch hunts of the 1950s, and he served as a most unforgiving president of the ultra-right-wing Motion Picture Alliance for the Preservation of American Ideals. In the mid-'50s he gained his greatest fame as the star of TV's Wagon Train (1957). During its production, Bond traveled to Dallas, Texas, to attend a football game and died there in his hotel room of a massive heart attack.Virtue- Actor
- Producer
- Director
The son of a day laborer, William Boyd moved with his family to Tulsa, Oklahoma, when he was seven. His parents died while he was in his early teens, forcing him to quit school and take such jobs as a grocery clerk, surveyor and oil field worker. He went to Hollywood in 1919, already gray-haired. His first role was as an extra in Cecil B. DeMille's Why Change Your Wife? (1920). He bought some fancy clothes, caught DeMille's eye and got the romantic lead in The Volga Boatman (1926), quickly becoming a matinée idol and earning upwards of $100,000 a year. However, with the end of silent movies, Boyd was without a contract, couldn't find work and was going broke. By mistake his picture was run in a newspaper story about the arrest of another actor with a similar name (William 'Stage' Boyd) on gambling, liquor and morals charges, and that hurt his career even more. In 1935 he was offered the lead role in Hop-a-Long Cassidy (1935) (named because of a limp caused by an earlier bullet wound). He changed the original pulp-fiction character to its opposite, made sure that "Hoppy" didn't smoke, drink, chew tobacco or swear, rarely kissed a girl and let the bad guy draw first. By 1943 he had made 54 "Hoppies" for his original producer, Harry Sherman; after Sherman dropped the series, Boyd produced and starred in 12 more on his own. The series was wildly popular, and all recouped at least double their production costs. In 1948 Boyd, in a savvy and precedent-setting move, bought the rights to all his pictures (he had to sell his ranch to raise the money) just as TV was looking for Saturday morning Western fare. He marketed all sorts of "Hoppy" products (lunch boxes, toy guns, cowboy hats, etc.) and received royalties from comic books, radio and records. He retired to Palm Desert, California, in 1953. In 1968 he had surgery to remove a tumor from a lymph gland and from then on refused all interview and photograph requests.Power, '28.- Actor
- Producer
- Writer
George Burns was an American actor, comedian, singer, and published author. He formed a comedy duo with his wife Gracie Allen (1895-1964), and typically played the straight man to her zany roles. Following her death, Burns started appearing as a solo performer. He once won an Academy Award for Best Supporting Actor, and continued performing until his 90s. He lived to be a centenarian, was viewed as an "elder statesman" in the field of comedy.
Burns was born under the name "Nathan Birnbaum" in 1896, and was nicknamed "Nattie" by his family. His father was Eliezer "Louis" Birnbaum (1855-1903), a coat presser who also served a substitute cantor at a local synagogue in New York City. His mother was Hadassah "Dorah" Bluth (1857-1927), a homemaker. Both parents were Jewish immigrants, originally from the small town of Kolbuszowa in Austrian Galicia (currently part of Poland). Kolbuszowa had a large Jewish population until World War II, when the German occupation forces in Poland relocated the local Jews to a ghetto in Rzeszów.
The Birnbaums were a large family, and Burns had 11 siblings. He was the 9th eldest of the Birnbaum Children. In 1903, Louis Birnbaum caught influenza and died, during an ongoing influenza epidemic. Orphaned when 7-years-old, Burns had to work to financially support his family. He variously shined shoes, run errands, selling newspapers, and worked as a syrup maker in a local candy shop.
Burns liked to sing while working, and practiced singing harmony with three co-workers of similar age. They were discovered by letter carrier Lou Farley, who gave them the idea to perform singing in exchange for payment. The four children soon started performing as the "Pee-Wee Quartet", singing in brothels, ferryboats, saloons, and street corners. They put their hats down for donations from their audience, though their audience was not always generous. In Burns' words: "Sometimes the customers threw something in the hats. Sometimes they took something out of the hats. Sometimes they took the hats."
Burns started smoking cigars c. 1910, when 14-years-old. It became a lifelong habit for him. Burns' performing career was briefly interrupted in 1917, when he was drafted for service in World I. He eventually failed his physical exams, due to his poor eyesight.
By the early 1920s, he adopted the stage name "George Burns", though he told several different stories of why he chose the name. He supposedly named himself after then-famous baseball player George Henry Burns (1897-1978), or the also famous baseball player George Joseph Burns (1889-1966). In another version, he named himself after his brother Izzy "George" Birnbaum, and took the last name "Burns" in honor of Burns Brothers Coal Company.
Burns performed dance routines with various female partners, until he eventually married his most recent partner Gracie Allen in 1926. Burns made his film debut in the comedy short film "Lambchops" (1929), which was distributed by Vitaphone. The film simply recorded one of Burns and Allen's comedy routines from vaudeville.
Burns made his feature film debut in a supporting role of the musical comedy "The Big Broadcast" (1932). He appeared regularly in films throughout the 1930s, with his last film role for several years appearing in the musical film "Honolulu" (1939). Burns was reportedly considered for leading role in "Road to Singapore" (1940), but the studio replaced him with Bob Hope (1903-2003).
Burns and Allen started appearing as comic relief for a radio show featuring bandleader Guy Lombardo (1902-1977). By February 1932, they received their own sketch comedy radio show. The couple portrayed younger singles, until the show was retooled in 1941 and started featuring them as a married couple. By the fall of 1941, the show had evolved into a situational comedy about married life. Burns and Allen's supporting cast included notable voice actors Mel Blanc, Bea Benaderet, and Hal March.
The radio show finally ended in 1949, reworked into the popular television show "The George Burns and Gracie Allen Show" (1950-1958). Allen would typically play the "illogical" housewife, while Burns played the straight man and broke the fourth wall to speak to the audience. The couple formed the production company McCadden Corporation to help produce the show.
Allen developed heart problems during the 1950s, and by the late 1950s was unable to put up the energy needed for the show. She fully retired in 1958. The show was briefly retooled to "The George Burns Show" (1958-1959), but Burns comedic style was not as popular as that of his wife. The new show was canceled due to low ratings.
Following Allen's death in 1964, Burns attempted a television comeback by creating the sitcom "Wendy and Me" (1964-1965) about the life of a younger married couple. The lead roles were reserved for Ron Harper and Connie Stevens, while Burns had a supporting role as their landlord. He also performed as the show's narrator.
As a television producer, Burns produced the military comedy "No Time for Sergeants", and the sitcom "Mona McCluskey". As an actor, he mostly appeared in theaters and nightclubs. Burns had a career comeback with the comedy film "The Sunshine Boys" (1975), his first film appearance since World War II. He played faded vaudevillian Al Lewis, who has a difficult relationship with his former partner Willy Clark (played by Walter Matthau). The role was met with critical success, and Burns won the Academy Award for Best Supporting Actor. At age 80, Burns was the oldest Oscar winner at the time. His record was broken by Jessica Tandy in 1989.
Burns had his greatest film success playing God in the comedy film "Oh, God!" (1977). The film 51 million dollars at the domestic box office, and was one of the greatest hits of 1977. Burns returned to the role in the sequels "Oh, God! Book II" (1980) and "Oh, God! You Devil" (1984). He had a double role as both God and the Devil in the last film.
Burns had several other film roles until the 1990s. His most notable films in this period were the musical comedy "Sgt. Pepper's Lonely Hearts Club Band" (1978), the comedy film "Just You and Me, Kid" (1979), the caper film "Going in Style" (1979), and the fantasy-comedy "18 Again!" (1988). The last of the four featured him as a grandfather who exchanges souls with his grandson.
Burns' last film role was a bit part in the mystery film "Radioland Murders" (1994), which was a box office flop. In July 1994, Burns fell in his bathtub and underwent surgery to remove fluid in his skull. He survived, but his health never fully recovered. He was forced to retire from acting and stand-up comedy.
On January 20, 1996, Burns celebrated his 100th birthday, but was in poor health and had to cancel a pre-arranged comeback performance. In March 1996, he suffered from cardiac arrest and died. He was buried in Forest Lawn Memorial Park Cemetery, Glendale, next to Gracie Allen.We're Not Dressing, '34- Actor
- Writer
- Producer
Born in New York City to a Judge of Special Sessions who was also president of a sewing machine company. Grew up on City Island, New York. Attended Hamilton Military Academy and turned down an appointment to West Point to attend New York Law School, where his law school classmates included future New York City mayor James J. Walker. After a boating accident which led to pneumonia, Carey wrote a play while recuperating and toured the country in it for three years, earning a great deal of money, all of which evaporated after his next play was a failure. In 1911, his friend Henry B. Walthall introduced him to director D.W. Griffith, for whom Carey was to make many films. Carey married twice, the second time to actress Olive Fuller Golden (aka Olive Carey, who introduced him to future director John Ford. Carey influenced Universal Studios head Carl Laemmle to use Ford as a director, and a partnership was born that lasted until a rift in the friendship in 1921. During this time, Carey grew into one of the most popular Western stars of the early motion picture, occasionally writing and directing films as well. In the '30s he moved slowly into character roles and was nominated for an Oscar for one of them, the President of the Senate in Mr. Smith Goes to Washington (1939). He worked once more with Ford, in The Prisoner of Shark Island (1936), and appeared once with his son, Harry Carey Jr., in Howard Hawks's Red River (1948). He died after a protracted bout with emphysema and cancer. Ford dedicated his remake of 3 Godfathers (1948) "To Harry Carey--Bright Star Of The Early Western Sky."They Knew What They Wanted, '40- Actor
- Soundtrack
When Jack Carson arrived in Hollywood in 1937, he found work at RKO as an extra. His first major acting role came alongside Humphrey Bogart in the romantic comedy Stand-In (1937). After a few years, he developed into a popular character actor who would be seen in a large number of comedies, musicals and a few westerns. Not happy with the direction his career was heading, he went to Warner Brothers in 1941, where the quality of his supporting roles improved. It also did not hurt to be in films that starred James Cagney, such as The Strawberry Blonde (1941) and The Bride Came C.O.D. (1941).
After three years, he starred with Jane Wyman in Make Your Own Bed (1944) and, again, in The Doughgirls (1944). Carson would play the nice guy with the heart of gold who was still a nice guy even when he was angry. He would take the double take and the quizzical look to a higher level, but he could also act in dramas. He provided a good portrayal of "Albert" in The Hard Way (1943) and was acclaimed for his performance in Mildred Pierce (1945). However, it was comedies that provided most of his work. He teamed up with his old friend, Dennis Morgan, for several films in the tradition of Bob Hope and Bing Crosby. It was in the 1940s that Carson would become popular as a wisecracking comedian on radio. This would lead him to television work in the 1950s, where he was one of 4 rotating hosts on All Star Revue (1950), until 1951, when he had left the show and the title was changed to "All Star Revue".
He hosted and performed on The Colgate Comedy Hour (1950) from 1952-55. He would also help host The U.S. Royal Showcase (1952). He would appear on a number of shows during the 1950s, one of his most remembered being an episode of The Twilight Zone (1959), where he played a somewhat shady used-car salesman who came into possession of an old Model-A Ford that was "haunted" in that whoever owned it had to tell the truth, whether he wanted to or not. Although his movie career slowed in the 1950s, he still appeared in a number of prestige pictures, such as A Star Is Born (1954) with Judy Garland, The Tarnished Angels (1957) with Rock Hudson and Cat on a Hot Tin Roof (1958) with Paul Newman.
Collapsed in August 1962 while in rehearsal for the play "Critic's Choice." An early diagnosis deemed it a stomach "disorder," but two months later, cancer was discovered while he was undergoing an unrelated operation.Mr. and Mrs. Smith. ,'41- Actor
- Soundtrack
A cigar-smoking, monocled, swag-bellied character actor known for his Old South manners and charm. In 1918 he and his first wife formed the Coburn Players and appeared on Broadway in many plays. With her death in 1937, he accepted a Hollywood contract and began making films at the age of sixty.Made For Each Other, '39
In Name Only, '39- Actor
- Soundtrack
The name may have been forgotten, especially today (seven decades later), but the portly, apoplectic, exasperated figure on the 1930s screen wasn't. While his film career, save a couple of silents, lasted a paltry seven years (1932-1939), character actor Walter Connolly certainly ran the distance. While some film historians complain that a number of his performances were annoying or overbaked, he was for the most part applauded for his zesty contributions to a number of comedy classics. Frank Capra's Lady for a Day (1933), Broadway Bill (1934) and It Happened One Night (1934), not to mention the Carole Lombard/Fredric March screwball farce Nothing Sacred (1937) as news reporter March's hot-headed editor boss are sure-fire examples.
The Cincinnati, Ohio native was born on April 8, 1887 and schooled there. The son of the head of the Western Union relay office, he attended St. Xavier College and the University of Dublin in Ireland before making his New York debut in 1910 in an outdoor presentation of "As You Like It". For the next year or so he was a member of E.H. Sothern's touring company and played supporting roles in a number of Shakespearean shows on the road. After a few silent pictures left him unimpressed with film-making, he turned to the Broadway stage in the 1920s and scored quite well. Somewhat short and tubby, it was not difficult for the jowly, mustachioed actor to seize laughs and he found his share in such outings as "The Talking Parrot" (1923), "Applesauce" (1925), "The Springboard" (1927), "The Happy Husband" (1928), "Stepping Out" (1929), "Your Uncle Dudley" (1930), "Anatol" (1931), "Six Characters in Search of an Author" (1931), "The Good Fairy" (1932) and "The Late Christopher Bean" (1932).
With his talents as a stage farceur firmly established, it was time to make a second attempt at a film career and Hollywood (specifically, Columbia) wisely opened their doors to him. Interestingly, his debut in a full-length talking picture came at age 45 in the form of a drama, Washington Merry-Go-Round (1932), where he was third-billed as a rather benign senator. For the next seven years Connolly, often playing older than he really was, could be found everywhere giving good fluster to the greatest and glossiest of stars -- Janet Gaynor, Carole Lombard, Clark Gable, Jean Harlow, Myrna Loy, Paul Muni, Spencer Tracy, and Ginger Rogers, among hordes of others.
Every now and then he was asked to hold up a film, as with his leading roles in the drama Whom the Gods Destroy (1934), the Hecht/MacArthur comedy/drama Soak the Rich (1936), and the whodunnits Father Brown, Detective (1934) (as the title priest/gumshoe) and The League of Frightened Men (1937) (as supersleuth Nero Wolfe). Connolly's archetypal fuming was on full display in the comedies She Couldn't Take It (1935) with George Raft and Joan Bennett and Fifth Avenue Girl (1939) with Ginger Rogers. His last role was as the great composer himself in the highly fictional The Great Victor Herbert (1939), although it wasn't the leading role.
Connolly married actress Nedda Harrigan in 1920. The two appeared together in the Broadway comedies "Treat 'Em Rough" (1926) and "Merry Andrew" (1929). They had one daughter, actress Ann Connolly (1924-2006), who also appeared on stage and played the grownup Wendy in the 'Mary Martin' /Cyril Ritchard Broadway production of "Peter Pan" in 1954. Ironically, Connolly, whose obesity was probably a contributing factor to his fatal stroke suffered on May 28, 1940, received his final divorce decree on the day he died. He was only 53.No More Orchids, '32
Lady by Choice, '34
Twentieth Century, '34
Nothing Sacred, '37- Actor
- Soundtrack
Donald Cook was born on 26 September 1901 in Portland, Oregon, USA. He was an actor, known for The Public Enemy (1931), Show Boat (1936) and Baby Face (1933). He was married to Princess Gioia Tasca di Cuto. He died on 1 October 1961 in New Haven, Connecticut, USA.Brief Moment, '33- Actor
- Stunts
- Producer
Born to Alice Cooper and Charles Cooper. Gary attended school at Dunstable school England, Helena Montana and Grinnell College, Grinnell, Iowa (then called Iowa College). His first stage experience was during high school and college. Afterwards, he worked as an extra for one year before getting a part in a two-reeler by the independent producer Hans Tiesler . Eileen Sedgwick was his first leading lady. He then appeared in The Winning of Barbara Worth (1926) for United Artists before moving to Paramount. While there he appeared in a small part in Wings (1927), It (1927), and other films.- Actor
- Director
- Soundtrack
Ricardo Cortez was born Jacob Krantz in New York City, New York, the son of Sarah (Lefkowitz) and Moses/Morris Krantz, Austrian Jewish immigrants who moved to New York just before he was born. His brother was cinematographer Stanley Cortez, who also changed his surname. Cortez worked a number of jobs while he trained as an actor. When Jacob he arrived in Hollywood to work in movies in 1922, the Rudolph Valentino craze was in full bloom. Never shy about changing a name and a background, the studio transformed Jacob Krantz into "Latin Lover" Ricardo Cortez from Spain. Such was life in Hollywood.
Starting with small parts, the tall and dark Cortez was being groomed by Paramount to be the successor to Valentino, but Cortez would never be viewed (or consider himself) as the equal to the late sex symbol. A popular star, he was saddled in a number of run-of-the-mill romantic movies that would depend more on his looks than on the script--pictures such as Argentine Love (1924) and The Cat's Pajamas (1926) did little to extend his range as an actor. He did show that he had some range with his role in Pony Express (1924), but roles like that were few and far between.
Cortez' career, unlike some other silent-screen stars, survived the advent of sound, and he would play Sam Spade in The Maltese Falcon (1931) (aka "Dangerous Female"). Never a great actor, Cortez was cast as the smirking womanizer in a number of films and would soon slide down into "B" movies. He played a newspaper columnist in Is My Face Red? (1932), a home wrecker in A Lost Lady (1934), a killer in Man Hunt (1936) and even Perry Mason in The Case of the Black Cat (1936).
After 1936 Cortez hit a dry patch as far as acting work was concerned and tried his hand at directing. His career as a director ended after a half-dozen movies and his screen career soon followed. He retired from the screen and returned to Wall Street, where he had worked as a runner decades before. This time he returned as a member of one of Wall Street's top brokerage firms and lived a comfortable life.- Music Artist
- Actor
- Producer
Bing Crosby was born Harry Lillis Crosby, Jr. in Tacoma, Washington, the fourth of seven children of Catherine (Harrigan) and Harry Lincoln Crosby, a brewery bookkeeper. He was of English and Irish descent. Crosby studied law at Gonzaga University in Spokane but was more interested in playing the drums and singing with a local band. Bing and the band's piano player, Al Rinker, left Spokane for Los Angeles in 1925. In the early 1930s Bing's brother Everett sent a record of Bing singing "I Surrender, Dear" to the president of CBS. His live performances from New York were carried over the national radio network for 20 consecutive weeks in 1932. His radio success led Paramount Pictures to include him in The Big Broadcast (1932), a film featuring radio favorites. His songs about not needing a bundle of money to make life happy was the right message for the decade of the Great Depression. His relaxed, low-key style carried over into the series of "Road" comedies he made with pal Bob Hope. He won the best actor Oscar for playing an easygoing priest in Going My Way (1944). He showed that he was indeed an actor as well as a performer when he played an alcoholic actor down on his luck opposite Grace Kelly in The Country Girl (1954). Playing golf was what he liked to do best. He died at age 74 playing golf at a course outside Madrid, Spain, after completing a tour of England that had included a sold-out engagement at the London Palladium.- Actor
- Soundtrack
Actor, composer, songwriter, guitarist and author. He moved from Broadway acting (1928-1932) into films, touring America with his wife and daughter, and did some recordings. He was the executive producer at the El Camino Playhouse in California. Joining ASCAP in 1953, his chief musical collaborator was Perry Botkin. His popular-song compositions include "Good Ship Lalapaloo" and "Two Shillelagh O'Sullivan".Love Before Breakfast (1936). '36. CL- Actor
- Soundtrack
William Frawley was born in Burlington, Iowa. As a boy he sang at St. Paul's Catholic Church and played at the Burlington Opera House. His first job was as a stenographer for the Union Pacific Railroad. He did vaudeville with his brother Paul, then joined pianist Franz Rath in an act they took to San Francisco in 1910. Four years later he formed a light comedy act with his new wife Edna Louise Broedt, "Frawley and Louise", touring the Orpheum and Keith circuits until they divorced in 1927. He next moved to Broadway and then, in 1932, to Hollywood with Paramount. By 1951, when he contacted Lucille Ball about a part in her TV show I Love Lucy (1951), he had performed in over 100 films. His Fred Mertz role lasted until the show ended in 1960, after which he did a five-year stint on My Three Sons (1960). Poor health forced his retirement. He collapsed of a heart attack on March 3, 1966, aged 79, walking along Hollywood Boulevard after seeing a movie. He is buried in San Fernando Mission Cemetery.The Princess Comes Across, '36.- Actor
- Soundtrack
Richard 'Skeets' Gallagher was born on 28 July 1891 in Terre Haute, Indiana, USA. He was an actor, known for Idiot's Delight (1939), Possessed (1931) and Lightning Strikes Twice (1934). He was married to Pauline Mason and Irene Martin. He died on 22 May 1955 in Santa Monica, California, USA.- Actor
- Producer
- Soundtrack
Once told by an interviewer, "Everybody would like to be Cary Grant", Grant is said to have replied, "So would I."
Cary Grant was born Archibald Alec Leach on January 18, 1904 in Horfield, Bristol, England, to Elsie Maria (Kingdon) and Elias James Leach, who worked in a factory. His early years in Bristol would have been an ordinary lower-middle-class childhood, except for one extraordinary event. At age nine, he came home from school one day and was told his mother had gone off to a seaside resort. However, the real truth was that she had been placed in a mental institution, where she would remain for years, and he was never told about it (he would not see his mother again until he was in his late 20s).
He left school at age 14, lying about his age and forging his father's signature on a letter to join Bob Pender's troupe of knockabout comedians. He learned pantomime as well as acrobatics as he toured with the Pender troupe in the English provinces, picked up a Cockney accent in the music halls in London, and then in July 1920, was one of the eight Pender boys selected to go to the United States. Their show on Broadway, "Good Times", ran for 456 performances, giving Grant time to acclimatize. He would stay in America. Mae West wanted Grant for She Done Him Wrong (1933) because she saw his combination of virility, sexuality and the aura and bearing of a gentleman. Grant was young enough to begin the new career of fatherhood when he stopped making movies at age 62.
One biographer said Grant was alienated by the new realism in the film industry. In the 1950s and early 1960s, he had invented a man-of-the-world persona and a style - "high comedy with polished words". In To Catch a Thief (1955), he and Grace Kelly were allowed to improvise some of the dialogue. They knew what the director, Alfred Hitchcock, wanted to do with a scene, they rehearsed it, put in some clever double entendres that got past the censors, and then the scene was filmed. His biggest box-office success was another Hitchcock 1950s film, North by Northwest (1959) made with Eva Marie Saint since Kelly was by that time Princess of Monaco.
Although Grant retired from the screen, he remained active. He accepted a position on the board of directors at Faberge. By all accounts this position was not honorary, as some had assumed. Grant regularly attended meetings and traveled internationally to support them. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother Dyan Cannon, was working. He later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle - Hollywood, California), Western Airlines (acquired by Delta Airlines in 1987) and MGM.
Grant expressed no interest in making a career comeback. He was in good health until almost the end of his life, when he suffered a mild stroke in October 1984. In his last years, he undertook tours of the United States in a one-man-show, "A Conversation with Cary Grant", in which he would show clips from his films and answer audience questions. On November 29, 1986, Cary Grant died at age 82 of a cerebral hemorrhage in Davenport, Iowa.
In 1999, the American Film Institute named Grant the second male star of Golden Age of Hollywood cinema (after Humphrey Bogart). Grant was known for comedic and dramatic roles; his best-known films include Bringing Up Baby (1938), The Philadelphia Story (1940), His Girl Friday (1940), Arsenic and Old Lace (1944), Notorious (1946), An Affair to Remember (1957), North by Northwest (1959) and Charade (1963).- Actor
- Writer
- Soundtrack
One of director Alfred Machin's favorite actresses was Fernande Dépernay of the Théâtre des Galeries. Dépernay was married to Georges Mertens, another of Machin's regular actors. Their son, Fernand Mertens, born in 1904. He made his acting debut in 'Saïda Makes Off with Manneken Pis' and in 1914 played the role of little Kef in 'A Tragedy in the Clouds' alongside his parents. Much later, under the pseudonym Fernand Garvey, he went to become one of France's most renowned actors.Fools for Scandal (1938). '38. CL- Actor
- Director
- Soundtrack
Alan Hale decided on a film career after his attempt at becoming an opera singer didn't pan out. He quickly became much in demand as a supporting actor, starred in several films for Cecil B. DeMille and directed others for him. With the advent of sound, Hale played leads in a few films but soon settled down into a career as one of the busiest character actors in the business. He was one of the featured members of what became known as the "Warner Brothers Stock Co.", a corps of character actors and actresses who appeared in scores of Warner Bros. films of the 1930s and 1940s. Hale's best-known role is probably in The Adventures of Robin Hood (1938), one of several films he made with his friend Errol Flynn, in which he played Little John, a role he played in two other films: Robin Hood (1922) and Rogues of Sherwood Forest (1950).Power, '28- Discovered on Broadway by director Howard Hawks, La Rue was originally brought to Hollywood to play a gangster in Scarface (1932). He lost that role to George Raft, and similarly was replaced by Humphrey Bogart in the film version of The Petrified Forest (1936). Eventually, he became well-known to movie-goers as a mean, sexy gangster type in sadistic roles like Miriam Hopkins' abductor in The Story of Temple Drake (1933). Film audiences, who loved to loathe him on-screen, were occasionally surprised by his being cast against type in such movies as A Farewell to Arms (1932). His final film was in the low-budget film Paesano: A Voice in the Night (1975).Virtue, '32
- Actor
- Writer
- Producer
Charles Laughton was born in Scarborough, Yorkshire, England, to Eliza (Conlon) and Robert Laughton, hotel keepers of Irish and English descent, respectively. He was educated at Stonyhurst (a highly esteemed Jesuit college in England) and at the Royal Academy of Dramatic Art (received gold medal). His first appearance on stage was in 1926. Laughton formed own film company, Mayflower Pictures Corp., with Erich Pommer, in 1937. He became an American citizen 1950. A consummate artist, Laughton achieved great success on stage and film, with many staged readings (particularly of George Bernard Shaw) to his credit. Laughton died in Hollywood, California, aged 63.- Actor
- Soundtrack
Tall, athletic leading man, the son of a judge. Lowe was initially slated for the priesthood but switched career paths on several occasions, at one time studying law, then teaching English and elocution. The latter led to his involvement in the acting profession. After briefly appearing in vaudeville, he joined the Oliver Morosco stock company in 1911 and made his Broadway debut six years later in 'The Brat'. Motion pictures soon beckoned, and, with his imposing physique and debonair manner, he quickly rose to becoming a popular matinée idol, the Tuxedo-attired star of such A-grade productions as East of Suez (1925).
In 1926, Lowe was cast, against type, in the role he would be identified with for the remainder of his career: that of the brash and profane Sergeant Harry Quirt in Maxwell Anderson's World War I drama What Price Glory (1926). He also featured in several sequels, invariably co-starring his on-screen adversary Victor McLaglen. After that, Lowe alternated between romantic lead (such as Dinner at Eight (1933)) and tough guy. In the latter category, he gave a strong central performance in the role of Specs Green in Dillinger (1945), one of the slickest productions turned out by little poverty row studio Monogram. The film elicited complaints from a few meekly-inclined civic groups and was even banned in Chicago for two years because of its 'brutal, sensational subject matter'. Irrespectively, it was a winner at the box office.
Edmund Lowe remained much sought-after by producers, having eased effortlessly into supporting roles once his days as a star were over. He worked under contract at 20th Century Fox (1924-27, 1929-32, 1934-35), Paramount (1932-33), MGM (1936) and Universal (1938-39). From the 1940's, he still played leads for smaller studios, free-lanced and later acted in television. Late in his career, he starred in his own half-hour series, Front Page Detective (1951), as a sleuthing newspaper columnist. In private life, Lowe had a reputation for impeccable attire and sartorial elegance. Not as well remembered today as he deserves to be, he is nonetheless immortalized with a star on the 'Walk of Fame' on Hollywood Boulevard.- Actor
- Soundtrack
Oscar-winning actor Paul Lukas was born in Hungary and graduated from the School for Dramatic Arts. In 1916 he went to Kosice (Kassa) to be an actor; in 1918 he became an actor specializing in comedy. For ten years he was the most popular character player and romantic lead of the company. In 1918 he began making movies in Budapest and in the 1920s he began appearing in films in Austria as well. He journeyed to Hollywood in 1927, where he finally settled down. He wasn't untrue to the stage--he played Dr. Rank to Ruth Gordon's Nora in Henrik Ibsen's "A Doll's House" in the Morosco Theatre in New York in 1937--but concentrated on films until 1948. In the '50s he started appearing on stage more and more, and worked in films and on TV only sporadically.No One Man, '32- Actor
- Producer
- Soundtrack
Fred MacMurray was likely the most underrated actor of his generation. True, his earliest work is mostly dismissed as pedestrian, but no other actor working in the 1940s and 50s was able to score so supremely whenever cast against type.
Frederick Martin MacMurray was born in Kankakee, Illinois, to Maleta Martin and Frederick MacMurray. His father had Scottish ancestry and his mother's family was German. His father's sister was vaudeville performer and actress Fay Holderness. When MacMurray was five years old, the family moved to Beaver Dam in Wisconsin, his parents' birth state. He graduated from Beaver Dam High School (later the site of Beaver Dam Middle School), where he was a three-sport star in football, baseball, and basketball. Fred retained a special place in his heart for his small-town Wisconsin upbringing, referring at any opportunity in magazine articles or interviews to the lifelong friends and cherished memories of Beaver Dam, even including mementos of his childhood in several of his films. In "Pardon my Past", Fred and fellow GI William Demarest are moving to Beaver Dam, WI to start a mink farm.
MacMurray earned a full scholarship to attend Carroll College in Waukesha, Wisconsin and had ambitions to become a musician. In college, MacMurray participated in numerous local bands, playing the saxophone. In 1930, he played saxophone in the Gus Arnheim and his Coconut Grove Orchestra when Bing Crosby was the lead vocalist and Russ Columbo was in the violin section. MacMurray recorded a vocal with Arnheim's orchestra "All I Want Is Just One Girl" -- Victor 22384, 3/20/30. He appeared on Broadway in the 1930 hit production of "Three's a Crowd" starring Sydney Greenstreet, Clifton Webb and Libby Holman. He next worked alongside Bob Hope in the 1933 production of "Roberta" before he signed on with Paramount Pictures in 1934 for the then-standard 7-year contract (the hit show made Bob Hope a star and he was also signed by Paramount). MacMurray married Lillian Lamont (D: June 22, 1953) on June 20, 1936, and they adopted two children.
Although his early film work is largely overlooked by film historians and critics today, he rose steadily within the ranks of Paramount's contract stars, working with some of Hollywood's greatest talents, including wunderkind writer-director Preston Sturges (whom he intensely disliked) and actors Humphrey Bogart and Marlene Dietrich. Although the majority of his films of the 30's can largely be dismissed as standard fare there are exceptions: he played opposite Claudette Colbert in seven films, beginning with The Gilded Lily (1935). He also co-starred with Katharine Hepburn in the classic, Alice Adams (1935), and with Carole Lombard in Hands Across the Table (1935), The Trail of the Lonesome Pine (1936) -- an ambitious early outdoor 3-strip Technicolor hit, co-starring with Henry Fonda and Sylvia Sidney directed by Henry Hathaway -- The Princess Comes Across (1936), and True Confession (1937). MacMurray spent the decade learning his craft and developing a reputation as a solid actor. In an interesting sidebar, artist C.C. Beck used MacMurray as the initial model for a superhero character who would become Fawcett Comics' Captain Marvel in 1939.
The 1940s gave him his chance to shine. He proved himself in melodramas such as Above Suspicion (1943) and musicals (Where Do We Go from Here? (1945)), somewhat ironically becoming one of Hollywood's highest-paid actors by 1943, when his salary reached $420,000. He scored a huge hit with the thoroughly entertaining The Egg and I (1947), again teamed with Ms. Colbert and today largely remembered for launching the long-running Ma and Pa Kettle franchise. In 1941, MacMurray purchased a large parcel of land in Sonoma County, California and began a winery/cattle ranch. He raised his family on the ranch and it became the home to his second wife, June Haver after their marriage in 1954. The winery remains in operation today in the capable hands of their daughter, Kate MacMurray. Despite being habitually typecast as a "nice guy", MacMurray often said that his best roles were when he was cast against type by Billy Wilder. In 1944, he played the role of "Walter Neff", an insurance salesman (numerous other actors had turned the role down) who plots with a greedy wife Barbara Stanwyck to murder her husband in Double Indemnity (1944) -- inarguably the greatest role of his entire career. Indeed, anyone today having any doubts as to his potential depth as an actor should watch this film. He did another stellar turn in the "not so nice" category, playing the cynical, spineless "Lieutenant Thomas Keefer" in the 1954 production of The Caine Mutiny (1954), directed by Edward Dmytryk. He gave another superb dramatic performance cast against type as a hard-boiled crooked cop in Pushover (1954).
Despite these and other successes, his career waned considerably by the late 1950s and he finished out the decade working in a handful of non-descript westerns. MacMurray's career got its second wind beginning in 1959 when he was cast as the dog-hating father figure (well, he was a retired mailman) in the first Walt Disney live-action comedy, The Shaggy Dog (1959). The film was an enormous hit and Uncle Walt green lighted several projects around his middle-aged star. Billy Wilder came calling again and he did a masterful turn in the role of Jeff Sheldrake, a two-timing corporate executive in Wilder's Oscar-winning comedy-drama The Apartment (1960), with Shirley MacLaine and Jack Lemmon -- arguably his second greatest role and the last one to really challenge him as an actor. Although this role would ultimately be remembered as his last great performance, he continued with the lightweight Disney comedies while pulling double duty, thanks to an exceptionally generous contract, on TV.
MacMurray was cast in 1961 as Professor Ned Brainerd in Disney's The Absent Minded Professor (1961) and in its superior sequel, Son of Flubber (1962). These hit Disney comedies raised his late-career profile considerably and producer Don Fedderson beckoned with My Three Sons (1960) debuting in 1960 on ABC. The gentle sitcom staple remained on the air for 12 seasons (380 episodes). Concerned about his work load and time away from his ranch and family, Fred played hardball with his series contract. In addition to his generous salary, the "Sons" contract was written so that all the scenes requiring his presence to be shot first, requiring him to work only 65 days per season on the show (the contract was reportedly used as an example by Dean Martin when negotiating the wildly generous terms contained in his later variety show contract). This requirement meant the series actors had to work with stand-ins and posed wardrobe continuity issues. The series moved without a hitch to CBS in the fall of 1965 in color after ABC, then still an also-ran network with its eyes peeled on the bottom line, refused to increase the budget required for color production (color became a U.S. industry standard in the 1968 season). This freed him to pursue his film work, family, ranch, and his principal hobby, golf.
Politically very conservative, MacMurray was a staunch supporter of the Republican Party; he joined his old friend Bob Hope and James Stewart in campaigning for Richard Nixon in 1968. He was also widely known one of the most -- to be polite -- frugal actors in the business. Stories floated around the industry in the 60s regarding famous hard-boiled egg brown bag lunches and stingy tips. After the cancellation of My Three Sons in 1972, MacMurray made only a few more film appearances before retiring to his ranch in 1978. As a result of a long battle with leukemia, MacMurray died of pneumonia at the age of eighty-three in Santa Monica on November 5, 1991. He was buried in the Holy Cross Cemetery in Culver City.Hands Across the Table (1935). '35. CL
The Princess Comes Across (1936). '36. CL
True Confession (1937). '37. CL
Swing High, Swing Low (1937). '37. CL- Actor
- Soundtrack
Fredric March began a career in banking but in 1920 found himself cast as an extra in films being produced in New York. He starred on the Broadway stage first in 1926 and would return there between screen appearances later on. He won plaudits (and an Academy Award nomination) for his send-up of John Barrymore in The Royal Family of Broadway (1930). Four more Academy Award nominations would come his way, and he would win the Oscar for Best Actor twice: for Dr. Jekyll and Mr. Hyde (1931) and The Best Years of Our Lives (1946). He could play roles varying from heavy drama to light comedy, and was often best portraying men in anguish, such as Willy Loman in Death of a Salesman (1951). As his career advanced he progressed from leading man to character actor.- Actor
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- Producer
Ray Milland became one of Paramount's most bankable and durable stars, under contract from 1934 to 1948, yet little in his early life suggested a career as a motion picture actor.
Milland was born Alfred Reginald Jones in the Welsh town of Neath, Glamorgan, to Elizabeth Annie (Truscott) and Alfred Jones. He spent his youth in the pursuit of sports. He became an expert rider early on, working at his uncle's horse-breeding estate while studying at the King's College in Cardiff. At 21, he went to London as a member of the elite Household Cavalry (Guard for the Royal Family), undergoing a rigorous 19-months training, further honing his equestrian skills, as well as becoming adept at fencing, boxing and shooting. He won trophies, including the Bisley Match, with his unit's crack rifle team. However, after four years, he suddenly lost his means of financial support (independent income being a requirement as a Guardsman) when his stepfather discontinued his allowance. Broke, he tried his hand at acting in small parts on the London stage.
There are several stories as to how he derived his stage name. It is known, that during his teens he called himself "Mullane", using his stepfather's surname. He may later have suffused "Mullane" with "mill-lands", an area near his hometown. When he first appeared on screen in British films, he was billed first as Spike Milland, then Raymond Milland.
In 1929, Ray befriended the popular actress Estelle Brody at a party and, later that year, visited her on the set of her latest film, The Plaything (1929). While having lunch, they were joined by a producer who persuaded the handsome Welshman to appear in a motion picture bit part. Ray rose to the challenge and bigger roles followed, including the male lead in The Lady from the Sea (1929). The following year, he was signed by MGM and went to Hollywood, but was given little to work with, except for the role of Charles Laughton's ill-fated nephew in Payment Deferred (1932). After a year, Ray was out of his contract and returned to England.
His big break did not come until 1934 when he joined Paramount, where he was to remain for the better part of his Hollywood career. During the first few years, he served an apprenticeship playing second leads, usually as the debonair man-about-town, in light romantic comedies. He appeared with Burns and Allen in Many Happy Returns (1934), enjoyed third-billing as a British aristocrat in the Claudette Colbert farce The Gilded Lily (1935) and was described as "excellent" by reviewers for his role in the sentimental drama Alias Mary Dow (1935). By 1936, he had graduated to starring roles, first as the injured British hunter rescued on a tropical island by The Jungle Princess (1936), the film which launched Dorothy Lamour's sarong-clad career. After that, he was the titular hero of Bulldog Drummond Escapes (1937) and, finally, won the girl (rather than being the "other man") in Mitchell Leisen's screwball comedy Easy Living (1937). He also re-visited the tropics in Ebb Tide (1937), Her Jungle Love (1938) and Tropic Holiday (1938), as well as being one of the three valiant brothers of Beau Geste (1939).
In 1940, Ray was sent back to England to star in the screen adaptation of Terence Rattigan's French Without Tears (1940), for which he received his best critical reviews to date. He was top-billed (above John Wayne) running a ship salvage operation in Cecil B. DeMille's lavish Technicolor adventure drama Reap the Wild Wind (1942), besting Wayne in a fight - much to the "Duke's" personal chagrin - and later wrestling with a giant octopus. Also that year, he was directed by Billy Wilder in a charming comedy, The Major and the Minor (1942) (co-starred with Ginger Rogers), for which he garnered good notices from Bosley Crowther of the New York Times. Ray then played a ghost hunter in The Uninvited (1944), and the suave hero caught in a web of espionage in Fritz Lang's thriller Ministry of Fear (1944).
On the strength of his previous role as "Major Kirby", Billy Wilder chose to cast Ray against type in the ground-breaking drama The Lost Weekend (1945) as dipsomaniac writer "Don Birnam". Ray gave the defining performance of his career, his intensity catching critics, used to him as a lightweight leading man, by surprise. Crowther commented "Mr. Milland, in a splendid performance, catches all the ugly nature of a 'drunk', yet reveals the inner torment and degradation of a respectable man who knows his weakness and his shame" (New York Times, December 3, 1945). Arrived at the high point of his career, Ray Milland won the Oscar for Best Actor, as well as the New York Critic's Award. Rarely given such good material again, he nonetheless featured memorably in many more splendid films, often exploiting the newly discovered "darker side" of his personality: as the reporter framed for murder by Charles Laughton's heinous publishing magnate in The Big Clock (1948); as the sophisticated, manipulating art thief "Mark Bellis" in the Victorian melodrama So Evil My Love (1948) (for which producer Hal B. Wallis sent him back to England); as a Fedora-wearing, Armani-suited "Lucifer", trawling for the soul of an honest District Attorney in Alias Nick Beal (1949); and as a traitorous scientist in The Thief (1952), giving what critics described as a "sensitive" and "towering" performance. In 1954, Ray played calculating ex-tennis champ "Tony Wendice", who blackmails a former Cambridge chump into murdering his wife, in Alfred Hitchcock's Dial M for Murder (1954). He played the part with urbane sophistication and cold detachment throughout, even in the scene of denouement, calmly offering a drink to the arresting officers.
With Lisbon (1956), Ray Milland moved into another direction, turning out several off-beat, low-budget films with himself as the lead, notably High Flight (1957), The Safecracker (1958) and Panic in Year Zero! (1962). At the same time, he cheerfully made the transition to character parts, often in horror and sci-fi outings. In accordance with his own dictum of appearing in anything that had "any originality", he worked on two notable pictures with Roger Corman: first, as a man obsessed with catalepsy in The Premature Burial (1962); secondly, as obsessed self-destructive surgeon "Dr. Xavier" in X: The Man with the X-Ray Eyes (1963)-the Man with X-Ray Eyes, a film which, despite its low budget, won the 1963 Golden Asteroid in the Trieste Festival for Science Fiction.
As the years went on, Ray gradually disposed of his long-standing toupee, lending dignity through his presence to many run-of-the-mill television films, such as Cave in! (1983) and maudlin melodramas like Love Story (1970). He guest-starred in many anthology series on television and had notable roles in Rod Serling's Night Gallery (1969) and the original Battlestar Galactica (1978) (as Quorum member Sire Uri). He also enjoyed a brief run on Broadway, starring as "Simon Crawford" in "Hostile Witness" (1966), at the Music Box Theatre.
In his private life, Ray was an enthusiastic yachtsman, who loved fishing and collecting information by reading the Encyclopedia Brittanica. In later years, he became very popular with interviewers because of his candid spontaneity and humour. In the same self-deprecating vein he wrote an anecdotal biography, "Wide-Eyed in Babylon", in 1976. A film star, as well as an outstanding actor, Ray Milland died of cancer at the age of 79 in March 1986.We're Not Dressing, '34- Actor
- Director
- Writer
The son of a lumberman, Tom Mix joined the army as a young man and was an artillery sergeant during the Philippine campaign from 1898 to 1901, though he never saw action. In fact, Mix deserted from the army and carefully kept the facts about his military service a closely guarded secret. About 1903 he was drum major with the Oklahoma Cavalry Band, playing in the St. Louis World's Fair. In 1904 he was a bartender and sheriff/marshal in Dewey, Oklahoma. He was in a series of Wild West shows, such as The Miller Bros. Wild West Show, from 1906-1909; the Widerman show in Amarillo, Texas; with wife Olive Mix in Seattle's Alaska-Yukon-Pacific Exposition; and Will A. Dickey's Circle D Ranch. The latter supplied Selig Pictures with cowboys and Indians for movies and, in 1910, Mix was hired by Selig to provide and handle horses. His first movie was Ranch Life in the Great Southwest (1910). He continued with Selig until 1917, writing and directing as well as acting. He was signed by Fox Films in 1917 and remained with them until 1928, averaging five or so films a year. His popularity eclipsed all other great cowboy stars (Hoot Gibson and even the legendary William S. Hart) of the silent era and he earned--and spent--millions.
In addition to Mix's riding and shooting skills, the films also showcased the talents of his amazing horse, Tony the Horse. Sound and encroaching middle age were not favorable to Mix, and after making a handful of pictures during the sound era he left the film industry after 1935's serial, The Miracle Rider (1935) (a huge hit for lowly Mascot Pictures, grossing over $1 million; Mix earned $40,000), touring with the Sells Floto Circus in 1930 and 1931 and the Tom Mix Circus from 1936 to 1938. While Mix was a great showman, the combination of the Depression and the high overhead of his traveling shows conspired against his success. Mix developed a comical style, emphasizing fast action thrills to a greater extent than had been common in earlier westerns, and he did his own stunts. He was king of the cowboys during the 1920s and remained popular on radio and in comic books for more than a decade after his death. He died in an auto accident in 1940.Dick Turpin (1925). '25- Actor
- Soundtrack
Jovial, somewhat flamboyant Frank Morgan (born Francis Wuppermann) will forever be remembered as the title character in The Wizard of Oz (1939), but he was a veteran and respected actor long before he played that part, and turned in outstanding performances both before and after that film. One of 11 children of a wealthy manufacturer, Morgan followed his older brother, Ralph Morgan (born Raphael Wuppermann) into the acting profession, making his Broadway debut in 1914 and his film debut two years later. Morgan specialized in playing courtly, sometimes eccentric or befuddled but ultimately sympathetic characters, such as the alcoholic telegraph operator in The Human Comedy (1943) or the shop owner in The Shop Around the Corner (1940). He was nominated for an Academy Award for Best Actor for The Affairs of Cellini (1934). Frank Morgan died at age 59 of a heart attack on September 18, 1949 in Beverly Hills, California.Fast and Loose, '30- Actor
- Soundtrack
The Academy Award-nominated film actor Chester Morris, who will forever be associated with the character Boston Blackie, was born John Chester Brooks Morris on February 16 1901 in New York City, the son of actor William Morris and comedienne Etta Hawkins.
Chester Morris made his Broadway debut as a teenager in 1918 in the play "The Copperhead," in support of the great Lionel Barrymore, who coincidentally would play Boston Blackie in a silent picture (The Face in the Fog (1922)) a generation before Morris would make that role his own. A year earlier, Chester Morris had made his movie debut in Van Dyke Brooke's An Amateur Orphan (1917), but he didn't really become a movie actor until the sound era. Instead, Morris made his acting bones on the boards, appearing on Broadway in the plays "Thunder" and "The Mountain Man" in 1919. He returned to the Great White Way in 1922 in the comedy "The Exciters" following it up with the comedy-drama "Extra" in 1923. Now established, Chester Morris began billing himself as "the youngest leading man in the country."
He appeared without credit in 'Cecil B. DeMille's The Road to Yesterday (1925), though his dark, good-looks and chiseled jaw made him a natural for movie stardom, it wasn't until the transition of the movies from silent pictures to the talkies that he became a movie actor. He was one of the first actors to be nominated for an Academy Award when in 1930 (the second year of the as-yet non-nicknamed Oscars) he was recognized with a nod as Best Actor for Alibi (1929), his first talking picture. But it was his appearance in The Big House (1930), the film for which he is best known (other than his portrayal of Boston Blackie in the eponymous detective series of the 1940s) that he broke through to stardom.
From 1930 through the middle of the decade, he was a star with good roles in first-rate pictures, usually assaying a tough guy. However, his star dimmed and by the end of the decade he was appearing in B-pictures, but beginning in 1941, the Boston Blackie series at Columbia Pictures revived his career. In all, he appeared in 14 pictures as the detective. He later segued to TV work in the 1950s and '60s, appearing in the occasional film such as his last, The Great White Hope (1970), which meant he had been a working movie actor for seven decades.
Although he was afflicted with cancer, it is unclear whether he took his own life as he was apparently in good spirits and left no note September 11, 1970.- Actor
- Soundtrack
"America's Joyboy," beefy, plump-faced comedian Jack Oakie, was one of the funniest top and second banana jokesters of stage, radio and especially film's "Golden Age." He would accomplish so much despite the fact that he was "functionally deaf" throughout his career and performed primarily with the aid of lip reading or vibrations.
The stories vary on how he became deaf -- scarlet fever at age 9, a Wall Street building explosion where he worked -- but, whatever the case, it seems a minor miracle that he managed to become a performing success not only for his famous "triple take" comedy but also for his work in Broadway and Hollywood musicals, which could not have been an easy task! A slapstick inspiration to future comedians like Jackie Gleason, Oakie's lightweight foolery and participation in films was pretty much standard cornball with a lot of mugging to boot, but then he surprised audiences by topping it all off in the hands of the legendary Charles Chaplin with a scene-stealing Oscar-nominated support role in a political satire masterpiece.
Jack was born Lewis Delaney Offield in Sedalia, Missouri on November 12, 1903, the son of a grain dealer (who died while Jack was quite young) and a teacher of psychology (Mary Evelyn Oakie Offield). His family moved to moved to Muskogee, Oklahoma. He was raised at times with his grandmother in Kansas City, Missouri, and made extra money there as a paperboy for The Kansas City Star.
Moving eventually to New York, Jack first worked as a runner for a brokerage firm on Wall Street, and nearly lost his life when a nearby Wall Street building was bombed on September 16, 1920. Interested in comedy and mime by this point, he began building up confidence on the amateur stage and giving himself a new name, Jack Oakie, which was comprised of the first character he ever played on stage and his mother's maiden name.
Jack took his first professional curtain call on Broadway in 1923 as a chorus boy in George M. Cohan's production of "Little Nellie Kelly." From there he found employment in a number of comedies, as well as musicals throughout the mid to late 1920s, including "Sharlee" (1923), the revues "Innocent Eyes" (1924) and "Artists and Models" (1925), and the musical "Peggy-Ann" in 1926. He also appeared in a couple of unbilled film parts in 1923 and 1924.
Films came calling toward the end of the silent era in 1927, and he relocated to Los Angeles where he made several non-talkies on his arrival, including Finders Keepers (1928) starring Laura La Plante and John Harron (Bobby's little brother) and directed by Wesley Ruggles; Clara Bow's The Fleet's In (1928); and the western Sin Town (1929). With the advent of sound, Oakie was signed, with the help of director Ruggles, to a contract by Paramount and appeared in his first talkie, the Ruth Chatterton/Fredric March starrer The Dummy (1929). Jack went on to support Wallace Beery in Chinatown Nights (1929); Dorothy Mackaill in Hard to Get (1929); Betty Compson and John Harron in Street Girl (1929); and Nancy Carroll in the musical Sweetie (1929). Settling in, he never returned to the Broadway stage.
Jack finally shared top billing with Evelyn Brent in the comedy film Fast Company (1929) as Elmer Kane, a character based on the George M. Cohan Broadway show "Elmer the Great." This led to top billing in the film version of the Broadway hit musical Hit the Deck (1929), as well as the early talking comedy vehicles The Social Lion (1930), The Sap from Syracuse (1930), Let's Go Native (1930), Sea Legs (1930), The Gang Buster (1931), June Moon (1931), Dude Ranch (1931), Once in a Lifetime (1932), Madison Square Garden (1932), Uptown New York (1932), Sitting Pretty (1933) and Shoot the Works (1934). Occasional dramas came his way with Dancers in the Dark (1932) co-starring Miriam Hopkins and Sky Bride (1932) co-starring Richard Arlen.
Throughout the 1930s, the 30-year-old plus actor appeared in a host of light college-themed comedies and was lovingly dubbed "The World's Oldest Freshman" while adding to the humor of such films as College Humor (1933), College Rhythm (1934) and Collegiate (1935). Elsewhere, in Too Much Harmony (1933), his mother Evelyn was featured as his mother, and he played Tweedledum to Roscoe Karns' Tweedledee in the all-star version of Alice in Wonderland (1933).
Oakie's contract ended with Paramount in 1934 and he continued as a freelancing agent until an RKO contract came his way a couple of years later. Starting to now gain a bit in girth, Oakie went back into support roles in musicals, adventures and comedies. Among the better known films were Call of the Wild (1935) with Clark Gable and Loretta Young; Colleen (1936) with Dick Powell and Ruby Keeler; The Toast of New York (1937) with Edward Arnold and Frances Farmer; Tin Pan Alley (1940) with Alice Faye and Betty Grable and Iceland (1942) with Sonja Henie and John Payne.
In the late 1930s, Jack traveled to Europe for some work and suffered a huge career setback when he returned to Hollywood and found himself unwanted. The draught lasted nearly two years until a major comeback thanks to Charles Chaplin. While such film highlights must include Million Dollar Legs (1932), King of Burlesque (1936), The Affairs of Annabel (1938) and Rise and Shine (1941), Oakie will in all probability be best remembered for his lip-smacking parody of Benito Mussolini ("Il Duce")in Chaplin's classic The Great Dictator (1940). As Benzino Napaloni, the dictator of the fictional country of Bacteria, Jack earned his only Oscar nomination in the "Supporting Actor" category. Throughout his lead career, he worked with a quality number of diverse leading ladies on film from Carole Lombard to Lily Pons.
Oakie also found work on radio, hosting his own show, "Jack Oakie's College," between 1936 and 1938. His deafness did not affect the output of his work, and, as a pro, seldom were there problems in accommodating his disability. Director Jules Dassin, in fact, once made it a point to state that Oakie never caused any delays in the filming of his film noir Thieves' Highway (1949).
Into the 1950s and 1960s, his career slowed down quite a bit, primarily due to his disability. He appeared to good advantage in the films The Rat Race (1960) and Lover Come Back (1961) and with TV comedy and drama on such popular shows as "The Real McCoys," "Daniel Boone," "Bonanza" and, his last, "Night Gallery" in 1972.
Jack Oakie was married twice. His first marriage (1936-1945) was to Venita Varden, who perished in the 1948 air crash of United Airlines Flight 624 at Mount Carmel, Pennsylvania. Oakie's second marriage was to actress Victoria Horne in 1950; they moved to an estate in Northridge and lived there until his death. The USC School of Cinematic Arts continues its durable ties with Hollywood history in the form of The Jack Oakie and Victoria Horne Oakie Charitable Foundation, which provides scholarships.
The comic actor died on January 23, 1978, in Los Angeles, California at the age of 74 from an aortic aneurysm. His remains were interred at Forest Lawn Memorial Park, in the Los Angeles area.- Actor
- Producer
- Additional Crew
George was the son of the San Francisco Chief of Police who became a college athlete. He was the Heavyweight Boxing Champion of the Pacific Fleet during World War I. In the early 1920s, George wound up in Hollywood where he worked as a stuntman and part time actor. In 1924, Director John Ford picked virtually unknown George to star in his first picture, The Iron Horse (1924). Over the next two years, he would appear in four more Ford films and would co-star with Janet Gaynor in The Blue Eagle (1926) and Sunrise (1927). "Sunrise," a winner of two Academy Awards, was the story of a simple farmer who lets another woman talk him into murdering his wife. George remained popular until sound came along. By that time, his popularity was sliding, but he did make the transition to sound. With his rugged looks and physical size, he was soon a Western Cowboy Star. He was in some of the best stories ever written, Riders of the Purple Sage (1931), and in some of the worst. But he was consistently in the Top Ten money-making Western Stars. He would appear in a few films outside the horse set, such as Ever Since Eve (1934), but those roles would be few. By the end of the 1930s, George was still a popular 'B' movie Cowboy Star, but he would not take the parts as seriously as he did a decade before. During World War II, he hung up his spurs, and he re-enlisted in the Navy where he fought in the Pacific and was decorated many times. After the war, when he would not find work in acting, John Ford, his old Director, would give him work with the cavalry in three of his films.- Actor
- Producer
- Soundtrack
Although he came to be called "Hollywood's Irishman in Residence"--and, along with good friends James Cagney, Allen Jenkins, Frank McHugh and a few others were called "The Irish Mafia"--and he often played Irish immigrants, Pat O'Brien was US-born and -bred. As a young boy the devoutly Roman Catholic O'Brien considered entering the seminary to study for the priesthood, but although he often played a Father, Monsignor or Bishop, he never actually followed through and entered the seminary. And although never a policeman, in movies he often wore the cop's badge and, although in real life he had no discernible Irish accent, he could pour on the "brogue" when the role called for it.
Pat O'Brien excelled in roles as beneficent men but could also give convincing performances as wise guys or con artists. He was a most popular film star during the 1930s and 1940s. Over almost five decades, he co-starred in nine films with Cagney, including his own screen swansong, Ragtime (1981).Virtue (1932). '32. CL- Actor
- Soundtrack
This eminently recognizable, bulbous, beetle-browed character actor left Culver Military Academy and began acting in repertory companies before becoming a Hollywood extra and stunt man. Eugene's father had also been a thespian at one time but eventually ended his career as an insurance salesman. In his younger days, Eugene was apparently of the more slender build since he once managed to hold down a job as a jockey! He spent in total six years with touring companies, briefly worked as a streetcar conductor in Portland and finally found his way to motion pictures. By his own account, he began in films on the East Coast around 1910 or 1911, gravitating to Hollywood by 1913 and appeared in some 100 productions each year for the first four years of his tenure. The majority of this prodigious output was undoubtedly made up of one-reel shorts. Eugene initially played leads in silent feature films and was described as relatively athletic by the time he appeared in D.W. Griffith's The Birth of a Nation (1915) and Intolerance (1916). His career was put on hold while he served with the Flying Corps during the First World War, but just a couple of years after his return to films he started to turn into a compulsive gourmand. His vast appetite for food increased his girth manifold and he steadfastly refused to go on a diet. Consequently, he found himself demoted to supporting roles but still managed to make a decent living out of his unusual appearance and his trademark gravelly bullfrog voice. Sometime in the early 1920s, he began to dabble in Texas oil and first amassed and then lost a fortune within the space of a year.
Eugene remained gainfully employed all through the '20s, '30s, and '40s. He played Aramis to Douglas Fairbankss's D'Artagnan in The Three Musketeers (1921) and appeared as a Hal Roach contract player in the classic Laurel & Hardy short The Battle of the Century (1927). In talkies, he was the truculent police sergeant Heath in five installments of the Philo Vance series at Paramount, starring William Powell. When not used as pinstripe-suited authority figures or Runyonesque characters (Nicely-Nicely Johnson in The Big Street (1942)), he was always diverting in screwball comedies, notably in My Man Godfrey (1936) and Topper (1937). A truly versatile, his gallery of characters ranged from garrulous and witty and ingratiating, to brooding loners, from avuncular to cantankerous. Under contract at Warners, he proved to be the very best ever incarnation of Friar Tuck in The Adventures of Robin Hood (1938) and followed this with another priestly effort as Father Felipe in The Mark of Zorro (1940).
Near the end of World War II, Eugene and a business partner acquired a 3500-acre estate and ranch along the Imnaha River in remote Wallowa County, Oregon, complete with a fallout shelter. Allegedly, he lived the life of a semi-recluse for the next four years, anticipating a nuclear attack by stockpiling all manner of essential items in order to become fully self-sufficient. The aforementioned business partner later denied this as a rumor, implying that the ranch was merely a place where Eugene entertained his actor friends (some came to hunt and fish). Whether true or not, Eugene was ultimately forced to sell the property in 1949 due to ill-health (throat cancer, as it turned out). He made his final return to the screen at Poverty Row studio Monogram in Suspense (1946), rounding out his career with a minor film noir set in the skating rink, starring the 'Ice Maiden' Belita. Eugene died eight years later in Los Angeles at the age of 65.It Pays to Advertise, '31- Actor
- Soundtrack
William Powell was on the New York stage by 1912, but it would be ten years before his film career would begin. In 1924 he went to Paramount Pictures, where he was employed for the next seven years. During that time, he played in a number of interesting films, but stardom was elusive. He did finally attract attention with The Last Command (1928) as Leo, the arrogant film director. Stardom finally came via his role as Philo Vance in The Canary Murder Case (1929), in which he investigates the death of Louise Brooks, "the Canary." Unlike many silent actors, sound boosted Powell's career. He had a fine, urbane voice and his stage training and comic timing greatly aided his introduction to sound pictures. However, he was not happy with the type of roles he was playing at Paramount, so in 1931 he switched to Warner Bros. There, he again became disappointed with his roles, and his last appearance for Warners was as Philo Vance in The Kennel Murder Case (1933). In 1934 Powell went to MGM, where he was teamed with Myrna Loy in Manhattan Melodrama (1934). While Philo made Powell a star, another detective, Nick Charles, made him famous. Powell received an Academy Award nomination for The Thin Man (1934) and later starred in the Best Picture winner for 1936, The Great Ziegfeld (1936). Powell could play any role with authority, whether in a comedy, thriller, or drama. He received his second Academy Award nomination for My Man Godfrey (1936) and was on top of the world until 1937, when he made his first picture with Jean Harlow, Reckless (1935). The two clicked, off-screen as well as on-screen, and shortly became engaged. One day, while Powell was filming Double Wedding (1937) on one MGM sound stage, Harlow became ill on another. She was finally taken to the hospital, where she died. Her death greatly upset both Powell and Myrna Loy, and he took six weeks off from making the movie to deal with his sorrow. After that he traveled, not making another MGM film for a year. He eventually did five sequels to "The Thin Man," the last one in 1947. He also received his third Academy Award nomination for his work in Life with Father (1947). His screen appearances became less frequent after that, and his last role was in 1955. He had come a long way from playing the villain in 1922.- Actor
- Additional Crew
- Soundtrack
Actor Roger Pryor was considered the "poor man's Clark Gable" at Universal and Columbia studios where he held long-term contracts during the 30s and 40s. The son of the popular composer/band leader Arthur Pryor (1869-1942) and his wife Maude Russell, the mustachioed leading man used his slick, roguish looks to good effect, enabling him to become a durable co-star of breezy "B" level musicals and stylish dramas.
Born in New York City (Manhattan) close to the turn of the 20th century on August 27, 1901, Roger made his stage debut at 18 in a New Jersey stock play called "Adam and Eva." He went on to also work with the Myskle-Harder Stock Company in Connecticut. After years of touring in repertory companies, he finally hit the Broadway lights in 1925 with a production of "The Back Slapper" and went on to appear with Ruth Gordon in "Paid (1926), as well as "Saturday's Children" (1927), "The Royal Family" (1927), "See Naples and Die" (1929), "Up Pops the Devil" (1930) and "Here Goes the Bride" (1931). While he did a fine job replacing Lee Tracy in the popular classic "The Front Page," it was his role in the 1932 play "Blessed Event" that got the Universal New York movie studio paying special attention.
Taking his initial film bow opposite lovely Mary Brian in the second-string Universal musical Moonlight and Pretzels (1933) , Roger was sent straight to Hollywood where he starred in the musical I Like It That Way (1934) and the sparkling comedy I'll Tell the World (1934) both paired with equally lovely Gloria Stuart. Roger was also Heather Angel's leading man in the light comedy Romance in the Rain (1934) before appearing in his biggest pre-Code picture as one of Mae West's paramours, the prizefighting Tiger Kid, in her bawdy vehicle Belle of the Nineties (1934).
Roger continued on the "B" Hollywood romantic path for the next several years. He was part of a vaudeville trio act in the musical Wake Up and Dream (1934) with ill-fated Russ Columbo and pert blonde June Knight; appeared in Lady by Choice (1934) opposite Carole Lombard; starred in Strange Wives (1934) with June Clayworth; headlined both Straight from the Heart (1935) and Dinky (1935) opposite Mary Astor; appeared in The Headline Woman (1935) again with Heather Angel; starred in $1000 a Minute (1935) with Leila Hyams; and was front and center in To Beat the Band (1935) co-starring Helen Broderick.
Married in 1926 to Priscilla Mitchell, the mother of his only child, Roger fell in love with his co-star Ann Sothern of the romantic musical comedy The Girl Friend (1935). They were wed the following year (1936) months after his divorce was finalized. Experiencing the height of his cinematic career, Roger went on to play reporters in both The Return of Jimmy Valentine (1936) and Missing Girls (1936), an amnesiac in the comedy Ticket to Paradise (1936) and a songwriter in Sitting on the Moon (1936).
As he began to decline into second leads and support roles (often as a heavy), Roger turned more and more to radio hosting, possessing a perfectly rich voice that suited the medium quite well. He also carried on the family tradition as a dance band leader and trombonist. At one time, wife Ann Sothern briefly toured with Pryor's band but the union began to crumble and they divorced in 1943.
Roger's film career continued throughout WWII with secondary roles in such secondary films as I Live on Danger (1942), A Man's World (1942), Smart Alecks (1942), Submarine Alert (1943) and High Powered (1945). Occasional leads still came his way occasionally with Gambling Daughters (1941) and The Kid Sister (1945). The actor made his last appearance on film with the Roy Rogers/Dale Evans oater Man from Oklahoma (1945).
Though his work as a bandleader was personally satisfying, it wasn't profitable and it drove Roger into bankruptcy. In 1947, he retired from show business altogether and turned to business, finding a comfortable niche as an ad executive and vice president in charge of broadcasting at Foote, Cone and Belding advertising agency.
Roger remarried a third time and the couple settled comfortably in Florida. He died of cardiac arrest at age 72 on January 31, 1974, while in Puerta Valarta, Mexico. His elder brother, Arthur Pryor, Jr. (1897-1954) was a radio pioneer who ran a prime agency in the 1930s and 1940s.Lady by Choice (1934). '34. CL- Actor
- Soundtrack
George Raft was born and grew up in a poor family in Hell's Kitchen, at the time one of the roughest, meanest areas of New York City. He was born George Ranft, and was the son of Eva (Glockner) and Conrad Ranft, a department store deliveryman. His parents were both of German descent. In his youth, he showed a great interest in, and aptitude for, dancing. That, combined with his dark good looks and sharp dressing, made him a local favorite at such spots as the El Fey Club with Texas Guinan. In 1928, Raft went to Hollywood to try his luck at acting. His first big role was as the coin-tossing henchman in Scarface (1932). His career was marked by numerous tough-guy roles, often a gangster or convict. The believability with which he played these, together with his lifelong associations with such real-life gangsters as Owney Madden and Bugsy Siegel, added to persistent rumors that he was also a gangster. The slightly shady reputation may have helped his popularity early on, but it made him somewhat undesirable to movie executives later in his career. He somewhat parodied his gangster reputation in Billy Wilder's Some Like It Hot (1959).- Actor
- Writer
- Director
Gene Raymond was born on August 13, 1908, in New York City as Raymond Guion. He was a child performer and a Broadway veteran by the age of 12. Blond, husky, and handsome, he enjoyed his greatest popularity in the 1930s and early 1940s. His big break came in Personal Maid (1931). He was soon cast in classics such as Red Dust (1932) (opposite Jean Harlow and Clark Gable) and in Ex-Lady (1933) (as the husband of Bette Davis 's character). His career continued to grow with a starring role in Sadie McKee (1934) (opposite Joan Crawford).
Soon after, he met and fell in love with one of MGM's stars, actress/singer Jeanette MacDonald. They married in 1937. In 1941, he and Jeanette were cast opposite one another in Smilin' Through (1941), their only picture together. In 1948, Raymond tried his hand at directing and producing with Million Dollar Weekend (1948), but it was not a very successful venture. In 1949, he and MacDonald decided to slow down their careers: she left the movies, and he became very selective on the ones he did. They spent the next 14 years traveling and staying active in Hollywood society.
In 1963, MacDonald, who suffered from heart disease, had an arterial transplant, and Raymond tried to nurse her back to health. In 1965, she had a heart attack and died with her husband by her side. This brought an end to their 28-year marriage, one of Hollywood's longest-lasting, although the union was childless. Every year after her death, he attended the Jeanette MacDonald International Fan Club convention in Los Angeles. He shared stories with her fans and friends, a thing he once said he would do "till Jeanette and I are together again".Brief Moment (1933). '33. CL- Actor
- Producer
- Soundtrack
"America's Boyfriend" Buddy Rogers was born in Olathe Kansas and became a talented musician on several instruments. He began acting in Hollywood in the 1920's and is probably best remembered as Clara Bow's love interest in "Wings". He also made several appearances in the "Mexican Spitfire" series with Lupe Velez, as well as being the nominal bandleader for several radio shows. He was married to Mary Pickford for forty-two years, until her death, and adopted two children. He appeared as a secondary character in scores of movies, and later became a frequent guest star on TV. Rogers died at age ninety-two in California. NOTE: The Charles Rogers whose biography also appears in this section is that of "Charley Rogers" a comedian and gagman for Hal Roach in the '20's and '30's. He is not the same Charles Rogers whose information is listed here.- Actor
- Writer
- Additional Crew
Luis Antonio Damaso de Alonso, later known as Gilbert Roland, was born in 1905 in Mexico. Following his parents to the USA, he did not become the bullfighter he had dreamed of being but became an actor instead. His Mexican roots, his half macho half romantic ways, his handsome virile figure helped him land roles in movies from the early twenties to 1982. A long and varied career in which Roland was in turns an extra, a matinée idol (Armand Duval in Camille (1926)), a Latin Lover, a star of English-speaking films made in Hollywood in the early 1930s, a Mexican bandit in B-Movies, The Cisco Kid in a series of six popular Westerns, a brilliant character in major A movies (John Huston's We Were Strangers (1949), Vincente Minnelli's The Bad and the Beautiful (1952); Anthony Mann's Thunder Bay (1953), John Ford's Cheyenne Autumn (1964)), a sinister character in Spaghetti Westerns... When he retired in 1982, twelve years before he died, he could be satisfied. His career had spanned six decades, the coming of sound had not ended it, he had played in all kinds of movies, he had held the most beautiful women in his arms, and maybe the most important thing, he had been given the opportunity to show his acting talents. Not every actor can boast such a life achievement.The Plastic Age- Actor
- Soundtrack
Tall, suave and sophisticated Cesar Romero actually had two claims to fame in Hollywood. To one generation, he was the distinguished Latin lover of numerous musicals and romantic comedies, and the rogue bandit The Cisco Kid in a string of low-budget westerns. However, to a younger generation weaned on television, Romero was better known as the white-faced, green-haired, cackling villain The Joker of the camp 1960s TV series Batman (1966), and as a bumbling corporate villain in a spate of Walt Disney comedies, such as chasing a young Kurt Russell in the fun-packed The Computer Wore Tennis Shoes (1969). Fans and critics alike agreed that Romero was a major talent who proved himself an enduring and versatile star in an overwhelming variety of roles in a career as an actor, dancer and comedian that lasted nearly 60 years.
Cesar Romero was born of Cuban parents in New York City in February 1907. He attended the Collegiate School and Riverdale Country School before working as a ballroom dancer. He first appeared on Broadway in the 1927 production of Lady Do, and then in the stage production of Strictly Dishonorable. His first film role was in The Shadow Laughs (1933), after which he gave strong performances in The Devil Is a Woman (1935) and in the Shirley Temple favorite, Wee Willie Winkie (1937).
Critics and fans generally agree that Romero's best performance was as the Spanish explorer Cortez in Captain from Castile (1947). However, he also shone in the delightful Julia Misbehaves (1948) and several other breezy and lighthearted escapades. In 1953 he starred in the 39-part espionage TV serial Passport to Danger (1954), which earned him a considerable income due to a canny profit-sharing arrangement. Although Romero became quite wealthy and had no need to work, he could not stay away from being in front of the cameras. He continued to appear in a broad variety of film roles, but surprised everyone in Hollywood by taking on the role of "The Joker" in the hugely successful TV series Batman (1966). He refused to shave his trademark mustache for the role, and close observation shows how the white clown makeup went straight on over his much loved mustache! The appearances in Batman were actually only a small part of the enormous amount of work that Romero contributed to television. He guest-starred in dozens of shows, including Rawhide (1959), 77 Sunset Strip (1958), Zorro (1957), Fantasy Island (1977) and Murder, She Wrote (1984). However, it was The Joker for which his TV work was best remembered, and Romero often remarked that for many, many years after Batman ended, fans would stop him and ask him to chuckle and giggle away just like he did as The Joker. Romero always obliged, and both he and the fans just loved it!
With a new appeal to a younger fan base, Romero turned up in three highly popular Disney comedies: The Computer Wore Tennis Shoes (1969), Now You See Him, Now You Don't (1972) and The Strongest Man in the World (1975) as corrupt but inept villain A.J. Arno. Throughout the remainder of the 1980s Romero remained busy, and even at 78 years of age the ladies still loved his charm, and he was cast as Jane Wyman's love interest in the top-rated prime-time soap opera Falcon Crest (1981), playing Peter Stavros from 1985 to 1987.
Although Romero stopped acting in 1990, he remained busy, regularly hosting classic movie programs on cable television. A talented and much loved Hollywood icon, he passed away on New Year's Day 1994, at the age of 86.Love Before Breakfast, '26- Actor
- Producer
- Additional Crew
Handsome American leading man who developed into one of Hollywood's greatest and most popular Western stars. Born to George and Lucy Crane Scott during a visit to Virginia, Scott was raised in Charlotte, North Carolina in a wealthy family. After service with the U.S. Army in France in World War I, he attended Georgia Institute of Technology but, after being injured playing football, transferred to the University of North Carolina, from which he graduated with a degree in textile engineering and manufacturing. He discovered acting and went to California, where he met Howard Hughes, who obtained an audition for him for Cecil B. DeMille's Dynamite (1929), a role which went instead to Joel McCrea. He was hired to coach Gary Cooper in a Virginia dialect for The Virginian (1929) and played a bit part in the film. Paramount scouts saw him in a play and offered him a contract. He met Cary Grant, another Paramount contract player, on the set of Hot Saturday (1932) and the pair soon moved in together. Their on-and-off living arrangement would last until 1942. Scott married and divorced wealthy heiress Marion DuPont in the late 1930's. He moved into leading roles at Paramount, although his easy-going charm was not enough to indicate the tremendous success that would come to him later. He was a pleasant figure in comedies, dramas and the occasional adventure, but it was not until he began focusing on Westerns in the late 1940s that he reached his greatest stardom. His screen persona altered into that of a stoic, craggy, and uncompromising figure, a tough, hard-bitten man seemingly unconnected to the light comedy lead he had been in the 1930s. He became one of the top box office stars of the 1950s and, in the Westerns of Budd Boetticher especially, a critically important figure in the Western as an art form. Following a critically acclaimed, less-heroic-than-usual role in one of the classics of the genre, Ride the High Country (1962), Scott retired from films. A multimillionaire as a result of canny investments, Scott spent his remaining years playing golf and avoiding film industry affairs, stating that he didn't like publicity. He died in 1987 survived by his second wife, Patricia Stillman, and his two adopted children, Christopher and Sandra. He is buried in Charlotte, North Carolina.Supernatural (1933). '33 CL- Actor
- Producer
- Soundtrack
"Straight Shooting" -- whether skeet shooting, or portraying Eliot Ness -- Robert Stack always told it like it was, and shot straight. Born in Los Angeles, California, the younger son of James Langford Stack (1860-1928), the owner of an advertising agency, and Mary Elizabeth Modini Wood (1891-1975), he was originally named Charles Langford Modini Stack at birth by his mother but his father soon changed the name to Robert Langford Stack. (The name Robert reportedly referred to no one in particular.) His elder brother and only sibling was James Langford Stack (1916-2006).
His parents had divorced when he was one-year-old, and his mother took him to Europe when he was three. He did not learn to speak English until he was six years old. His brother, James Langford Stack Jr., stayed in the United States with their father. Young Robert spoke fluent Italian and French, but had to learn English when they returned to Los Angeles. His mother and father remarried in 1928. Robert took drama courses at USC. He was not interested in team sports, so he took up skeet shooting. In 1935, he came in second in the National Skeet Shooting Championship (held in Cleveland) and, in 1936, his 5-man team broke the standing record at the National Skeet Championships (held in St. Louis).
Stack arrived at Universal City Studios in 1939, when the movie studio (once riding high on the successes of movies such as Dracula (1931) and Frankenstein (1931)) was in financial trouble, and looking for a superstar. That superstar was Deanna Durbin (acquired from MGM), and Stack made his screen debut as her lover in First Love (1939). At first, he did not want to listen to the makeup man who had told him, "no blond has ever made it as a leading man", and insisted on dyeing his hair black and uncurling it. That makeup man was genius and Oscar winner, Jack P. Pierce (who had done all the monsters for Universal), and Stack became a matinee idol, overnight. After two more movies, he was teamed with Durbin again, in Nice Girl? (1941). he was now a bona-fide star, but Universal was still only paying him $150 a week. For the next 10 years, Stack did Westerns, war movies and romantic comedies.
Stack had fond memories for Bullfighter and the Lady (1951), a movie produced by his friend, John Wayne, which meant 12 weeks filming in sunny Mexico. The movie had a great script; unfortunately, two bullfighters were gored while filming. There were several weeks of delays, they could not get a crew or a sound stage, until they realized that, in Mexico, it is necessary to bribe the local union; some money was passed and filming started, immediately. There were wild times, and lots of tequila. Robert became a local legend; when some Mexicans asked him what he did in the War, Robert said: "I taught machine gun." The rumor spread: "Roberto teaches chingas!" (that's Spanish for "hookers"). In 1952, he made movie history (much like Al Jolson had done in 1927, being in the first "talkie") -- he starred in Bwana Devil (1952), the first 3-D movie. This gave startling effects to the story, which was based on real-life lion attacks in Africa.
Stack attended the premiere, and recalled people's reactions to the 3-D lion scenes: "People in the audience jumped out of their seats, some even fainted." The movie broke box office records, and immediately started the demand to film more movies in 3-D (such as House of Wax (1953)). Around 1955, Robert (Hollywood's most eligible bachelor) was introduced to Rosemarie Bowe, by mutual agent Bill Shiffrin. Rosemarie had been under contract to MGM and Columbia, making such movies as Million Dollar Mermaid (1952) and The Golden Mistress (1954). The couple wed two years later and had two children: Elizabeth Stack and Charles Stack. The former perennial bachelor found out he liked being married and being a father. His onscreen fame had grown and, for Written on the Wind (1956), he received an Academy Award nomination. Unfortunately, this did not sit well with 20th-Century Fox, which had him under contract, and had lent him to Universal for this picture. His contract with Fox came to an end. Stack made the transition to the new medium that was sweeping the country: television. He delivered breakout performances in his signature role as T-man (Treasury agent) Eliot Ness on The Untouchables (1959) which, after the pilot, ran for four seasons (118 episodes). And there was also the television movie, The Scarface Mob (1959).
There were some funny behind-the-scenes anecdotes, such as this one: there is no scene which stood out more as the most potentially evil, and risky in terms of audience acceptance, as the "bacio di morte" ("kiss of death"), the Sicilian gesture whenever a Capo (Neville Brand) kissed a Mafia soldier (Frank DeKova) to send him out as an executioner. The two actors were nervous enough about this scene (two guys had never kissed on television before), but then some crewman decided to be a prankster and told each star, in private, just before filming, "look out -- your co-star likes kissing guys" (a complete deception, of course). There were some unfortunate anecdotes: Joseph Wiseman was a fine actor, but trained to work on the New York stage with props; he was not accustomed to real Hollywood sets. In a 1960 episode of "The Untouchables", Stack was supposed to take an axe and smash up a brewery. He hit a real pipe, the axe ricocheted off the metal, and cut through his Achilles tendon. "I never felt so sorry for anyone in my life", Stack commented. They wrote a role for Wiseman as a crippled, renegade chemist a few weeks later in "The Antidote", which Stack noted, "was one of our half-dozen top shows". Stack went on to do television series, such as The Name of the Game (1968) alternating lead with Gene Barry and Anthony Franciosa, then later Most Wanted (1976), and he pleasantly surprised everyone with his flair for comedies in movies like 1941 (1979) and Airplane! (1980).
Stack hosted Unsolved Mysteries (1987) and did more zany humor in Caddyshack II (1988), Beavis and Butt-Head Do America (1996) and BASEketball (1998). He also provided the voice of the character Ultra Magnus in The Transformers: The Movie (1986). He portrayed the no-nonsense G-man Ness again in The Return of Eliot Ness (1991). Stack was being treated for prostate cancer when he died at age 84 on May 14, 2003 at his home in Bel Air, Los Angeles, after suffering a heart attack.To Be or Not To Be, '42- Actor
- Director
- Producer
James Maitland Stewart was born on May 20, 1908, in Indiana, Pennsylvania, to Elizabeth Ruth (Johnson) and Alexander Maitland Stewart, who owned a hardware store. He was of Scottish, Ulster-Scots, and some English descent. Stewart was educated at a local prep school, Mercersburg Academy, where he was a keen athlete (football and track), musician (singing and accordion playing), and sometime actor.
In 1929, he won a place at Princeton University, where he studied architecture with some success and became further involved with the performing arts as a musician and actor with the University Players. After graduation, engagements with the University Players took him around the northeastern United States, including a run on Broadway in 1932. But work dried up as the Great Depression deepened, and it was not until 1934, when he followed his friend Henry Fonda to Hollywood, that things began to pick up.
After his first screen appearance in Art Trouble (1934), Stewart worked for a time for MGM as a contract player and slowly began making a name for himself in increasingly high-profile roles throughout the rest of the 1930s. His famous collaborations with Frank Capra, in You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939), and, after World War II, It's a Wonderful Life (1946) helped to launch his career as a star and to establish his screen persona as the likable everyman.
Having learned to fly in 1935, he was drafted into the United States Army in 1940 as a private (after twice failing the medical for being underweight). During the course of World War II, he rose to the rank of colonel, first as an instructor at home in the United States, and later on combat missions in Europe. He remained involved with the United States Air Force Reserve after the war and officially retired in 1968. In 1959, he was promoted to brigadier general, becoming the highest-ranking actor in U.S. military history.
Stewart's acting career took off properly after the war. During the course of his long professional life, he had roles in some of Hollywood's best-remembered films, starring in a string of Westerns, bringing his everyman qualities to movies like The Man Who Shot Liberty Valance (1962)), biopics (The Stratton Story (1949), The Glenn Miller Story (1954), and The Spirit of St. Louis (1957), for instance, thrillers (most notably his frequent collaborations with Alfred Hitchcock), and even some screwball comedies.
On June 25, 1997, a thrombosis formed in his right leg, leading to a pulmonary embolism, and a week later on July 2, 1997, surrounded by his children, James Stewart died at age 89 at his home in Beverly Hills, California. His last words to his family were, "I'm going to be with Gloria now".Made for Each Other (1939). '39. CL- Actress
- Soundtrack
Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana, on October 6, 1908. Her parents divorced in 1916 and her mother took the family on a trip out West. While there they decided to settle down in the Los Angeles area. After being spotted playing baseball in the street with the neighborhood boys by a film director, Carole was signed to a one-picture contract in 1921 when she was 12. The film in question was A Perfect Crime (1921). Although she tried for other acting jobs, she would not be seen onscreen again for four years. She returned to a normal life, going to school and participating in athletics, excelling in track and field. By age 15 she had had enough of school, though, and quit. She joined a theater troupe and played in several stage shows, which were for the most part nothing to write home about. In 1925 she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (1925), in which she had the lead. Right after that film she appeared in a western called Durand of the Bad Lands (1925). She rounded out 1925 in the comedy Marriage in Transit (1925) (she also appeared in a number of two-reel shorts). In 1926 Carole was seriously injured in an automobile accident that resulted in the left side of her face being scarred. Once she had recovered, Fox canceled her contract. She did find work in a number of shorts during 1928 (13 of them, many for slapstick comedy director Mack Sennett), but did go back for a one-time shot with Fox called Me, Gangster (1928). By now the film industry was moving from the silent era to "talkies". While some stars' careers ended because of heavy accents, poor diction or a voice unsuitable to sound, Carole's light, breezy, sexy voice enabled her to transition smoothly during this period. Her first sound film was High Voltage (1929) at Pathe (her new studio) in 1929. In 1931 she was teamed with William Powell in Man of the World (1931). She and Powell hit it off and soon married, but the marriage didn't work out and they divorced in 1933. No Man of Her Own (1932) put Carole opposite Clark Gable for the first and only time (they married seven years later in 1939). By now she was with Paramount Pictures and was one of its top stars. However, it was Twentieth Century (1934) that showed her true comedic talents and proved to the world what a fine actress she really was. In 1936 Carole received her only Oscar nomination for Best Actress for My Man Godfrey (1936). She was superb as ditzy heiress Irene Bullock. Unfortunately, the coveted award went to Luise Rainer in The Great Ziegfeld (1936), which also won for Best Picture. Carole was now putting out about one film a year of her own choosing, because she wanted whatever role she picked to be a good one. She was adept at picking just the right part, which wasn't surprising as she was smart enough to see through the good-ol'-boy syndrome of the studio moguls. She commanded and received what was one of the top salaries in the business - at one time it was reported she was making $35,000 a week. She made but one film in 1941, Mr. & Mrs. Smith (1941). Her last film was in 1942, when she played Maria Tura opposite Jack Benny in To Be or Not to Be (1942). Tragically, she didn't live to see its release. The film was completed in 1941 just at the time the US entered World War II, and was subsequently held back for release until 1942. Meanwhile, Carole went home to Indiana for a war bond rally. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. All aboard perished. The highly acclaimed actress was dead at the age of 33 and few have been able to match her talents since.1908-1942, 33
80 acting credits.
61 features, 26 shorts.
Married to William Powell, '31-33.
Married to Clark Gable, '39-'42. First met in 1924.
A few genres : 46 comedy, 34 drama, 28 Romance.