Most Attractive Men of All Time
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Born Robert Alexander Cochran, son of a California lumberman, he worked mostly in the theatre before landing a contract with Samuel Goldwyn in 1945. His debut was Wonder Man (1945) with Virginia Mayo and Danny Kaye. From 1949 to 1952, he was signed to Warner Brothers, then started up his own production company. In 1965, he sailed off in his yacht to Guatemala to look for suitable filming locations but died of a lung infection before reaching land.- Actor
- Soundtrack
Tall, dark and handsome, not to mention a charismatic rebel of 1960s Hollywood, actor George Maharis (surname originally Maharias) was born in 1928 in Astoria, New York, one of seven siblings. His immigrant father was a restaurateur. Maharis expressed an early interest in singing and initially pursued it as a career, but extensive overuse of his voice and improper vocal lessons stripped his vocal cords, and he subsequently veered towards an acting career.
Trained at the Neighborhood Playhouse with Sanford Meisner and the Actor's Studio with Lee Strasberg, the "Method" actor found roles on television, including several episodes of Naked City (1958), and secured an early name for himself on the late 1950s off-Broadway scene, especially with his performances in Jean Genet's "Deathwatch" and Edward Albee's "Zoo Story". Producer/director Otto Preminger "discovered" Maharis for film, offering him a choice of five small roles in the upcoming film Exodus (1960), in which the actor eventually played an underground freedom fighter.
One of the episodes Maharis did of the police drama Naked City (1958), entitled "Four Sweet Corners", wound up being a roundabout pilot for the buddy adventure series that would earn him household fame. With the arrival of the series Route 66 (1960), the actor earned intense TV stardom and a major cult following as a Brando-esque, streetwise drifter named Buzz Murdock. Partnered with the fair-skinned, clean-scrubbed, college-educated Tod Stiles (Martin Milner, later star of Adam-12 (1968)), the duo traveled throughout the U.S. in a hotshot convertible Corvette and had a huge female audience getting their kicks off with the show. At the show's peak, Maharis parlayed his TV fame into a recording career with Epic Records, producing six albums in the process and peaking with the single "Teach Me Tonight".
During the middle of the series' third season peak, Maharis abruptly left the series with a number of reasons cited. Often quoted is that the virile, seductive image of a fast-rising star apparently got to him, and that he proved increasingly troublesome as he grew in stature. Tabloids reported that the actor purposefully instigated ongoing clashes with both producers and co-star Milner in order to leave the series and seek film stardom while the irons were hot. Maharis denied this, insisting that his working relationships on the set were solid and that any complaints were vastly overblown. He cited health reasons as the reason for his leaving, claiming that a long-term bout (and relapse) of infectious hepatitis, caught during a 1962 shoot of the series, forced him to abandon the show under doctor's orders. For whatever reason, Maharis left. His replacement, ruggedly handsome Glenn Corbett, failed to click with audiences and the series was canceled after the next season.
Back to working on films, the brash and confident actor, with his health scare over, aggressively pursued stardom with a number of leads, but the duds he found himself in -- Quick, Before It Melts (1964), Sylvia (1965), A Covenant with Death (1967), The Happening (1967), and The Desperados (1969) prime among his list of disasters -- hampered his chances. The best of the lot was the suspense drama The Satan Bug (1965), but it lacked box-office appeal and disappeared quickly. Moreover, a 1967 sex scandal (and subsequent one in 1974) could not have helped. In the 1970s Maharis returned to series TV in the short-lived The Most Deadly Game (1970), co-starring fellow criminologists Ralph Bellamy and Yvette Mimieux (who replaced the late Inger Stevens who committed suicide shortly before shooting was about to start). The decade also included a spate of TV movies, including the more notable The Monk (1969) and Rich Man, Poor Man (1976). In between these he appeared in Las Vegas nightclubs and summer stock, and was one of the first celebrities to pose for a nude centerfold in Playgirl (July 1973).
His last working years brought about the occasional film, most notably as the resurrected warlock in The Sword and the Sorcerer (1982) and an appearance in the horror thriller Doppelganger (1993). With his "bad boy" glory days behind him, Maharis' TV career ended rather routinely with guest parts on such popular but unchallenging shows such as "Fantasy Island" and "Murder, She Wrote". Later years were spent focusing on impressionistic painting. He has been fully retired since the early 1990s.- Dark-haired, Ivy League-looking Bradford Dillman, whose white-collar career spanned nearly five decades, possessed charm and confident good looks that were slightly tainted by a bent smile, darting glance and edgy countenance that often provoked suspicion. Sure enough, the camera picked up on it and he played shady, highly suspect characters throughout most of his career.
The actor was born in San Francisco on April 14, 1930, to Dean and Josephine Dillman. Yale-educated, he graduated with a B.A. in English Literature. Following this he served with the US Marines in Korea (1951-1953) before focusing on acting as a profession. Studying at the Actors Studio, he spent several seasons apprenticing with the Sharon (CT) Playhouse before making his professional acting debut in "The Scarecrow" in 1953.
Dillman took his initial Broadway bow in Eugene O'Neill's play "Long Day's Journey Into Night" in 1956, originating the author's alter ego character Edmund Tyrone and winning a Theatre World Award in the process. This success put him squarely on the map and 20th Century-Fox took immediate advantage by placing the darkly handsome up-and-comer under contract. Cast in the melodrama A Certain Smile (1958), he earned a Golden Globe for "Most Promising Newcomer" playing a Parisian student who loses his girl (Christine Carère) to the worldly Italian roué Rossano Brazzi. He followed this with a strong ensemble appearance in In Love and War (1958), which featured a cast of young rising stars including Hope Lange and Robert Wagner. More acting honors followed after completing the film Compulsion (1959), which told the true story of the infamous 1920s kidnapping/murder case of Nathan Leopold and Richard Loeb. He went on to share a "Best Actor" award at the Cannes Film Festival with fellow co-stars Dean Stockwell, who played the other youthful murderer, and veteran Orson Welles.
Though he was a magnetic player poised for stardom, Dillman's subsequent films failed to serve him well and were generally unworthy of his talent. Though properly serious and stoic as the title character in Francis of Assisi (1961), the film itself was stilted and weakly scripted. Circle of Deception (1960) was a misguided tale of espionage and intrigue, but it did introduce him to his second wife, supermodel-cum-actress Suzy Parker. While A Rage to Live (1965) with Suzanne Pleshette was trashy soap material, The Plainsman (1966) was rather a silly, juvenile version of the Gary Cooper western classic. As a result of these missteps--and others--he began to top-line lesser quality projects or play supporting roles in "A" pictures. His nothing role as Robert Redford's college pal-turned Hollywood producer in The Way We Were (1973) and his major roles in the ludicrous The Swarm (1978) and Lords of the Deep (1989) became proof in the pudding. His last good film role was in O'Neill's The Iceman Cometh (1973), although he did play an interesting John Wilkes Booth in the speculative re-enactment drama The Lincoln Conspiracy (1977) and had a fun leading role in the Jaws (1975)-like spoof Piranha (1978).
Dillman bore up very well on TV over the years, subsisting on a plethora of mini-movies and guest spots on popular series, playing everything from turncoats to frauds and from adulterers to psychotics. He earned a Daytime Emmy for his appearance in Last Bride of Salem (1974) and starred in two series--Court Martial (1965), as a military lawyer, and King's Crossing (1982), as an alcoholic parent and teacher attempting to straighten out. He also spent a season on the established nighttime soap Falcon Crest (1981) in 1982.
A narrator, director and teacher of acting in later years. Bradford launched a late-in-the career sideline as an author. The football fan inside him compelled him to write "Inside the New York Giants" (1995), a book that rated players drafted by the team since 1967. Two years later he published his memoirs, the curiously-titled "Are You Somebody?: An Actor's Life." He retired from the screen after a few guest star shots on "Murder, She Wrote" in the mid-90s.
From 1956 to 1962, Dillman was married to Frieda Harding, and had two children, Jeffrey and Pamela. Following their divorce, he met well-known model-turned-actress Suzy Parker during the production of Circle of Deception (1960) and the couple married on April 20, 1963. They had three children, Dinah, Charles, and Christopher. Daughter Pamela Dillman has worked as an actress. Dillman was made a widower when Parker died on May 3, 2003. He lived for many years in Montecito, California, and helped raise money for medical research. He died in Santa Barbara, California on January 16, 2018, aged 87, from complications of pneumonia. - Actor
- Producer
- Soundtrack
Rock Hudson was born Roy Harold Scherer, Jr. in Winnetka, Illinois, to Katherine (Wood), a telephone operator, and Roy Harold Scherer, an auto mechanic. He was of German, Swiss-German, English, and Irish descent. His parents divorced when he was eight years old. He failed to obtain parts in school plays because he couldn't remember lines. After high school he was a postal employee and during WW II served as a Navy airplane mechanic. After the war he was a truck driver. His size and good looks got him into movies. His name was changed to Rock Hudson, his teeth were capped, he took lessons in acting, singing, fencing and riding. One line in his first picture, Fighter Squadron (1948), needed 38 takes. In 1956 he received an Oscar nomination for Giant (1956) and two years later Look magazine named him Star of the Year. He starred in a number of bedroom comedies, many with Doris Day, and had his own popular TV series McMillan & Wife (1971). He had a recurring role in TV's Dynasty (1981) (1984-5). He was the first major public figure to announce he had AIDS, and his worldwide search for a cure drew international attention. After his death his long-time lover Marc Christian successfully sued his estate, again calling attention to the homosexuality Rock had hidden from most throughout his career.- Actor
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Gifted with aristocratic good-looks and a rich speaking voice, English-born thespian Edmund Purdom graced dozens of European genre films in a career that spanned over 50 years.
Born in Hertfordshire and educated in Stratton-on-the-Fosse, Purdom made his professional stage debut at age 21 and worked with the Royal Shakespeare Theatre for two years. He arrived on Broadway in 1951, acting opposite Laurence Olivier and Vivien Leigh in productions of Shakespeare's "Antony and Cleopatra" and Shaw's "Caesar and Cleopatra." A supporting turn in Joseph L. Mankiewicz's Julius Caesar (1953) saw him cast in a string of lavish studio pictures as a lead, first as a last-minute replacement for Marlon Brando in The Egyptian (1954), then as the face to Mario Lanza's singing in The Student Prince (1954).
Though Purdom never achieved the superstardom of his Hollywood contemporaries, he found no shortage of work in Italy for the rest of his life. He worked in nearly every major genre trend of the country's cinema, from sword-and-sandal epics, to stylish giallo thrillers, to Spaghetti Westerns, to low-budget horror. He was also a prolific voice artist, dubbing Italian films into English. He made a brief foray behind-the-camera as one of names attached to the Brit slasher Don't Open Till Christmas (1984), but it's troubled production meant his directing career was a one-off.
Purdom was married to Vivienne Purdom, Linda Christian, Alicia Darr and Tita Phillips. He died on January 1, 2009 in Rome, survived by Vivienne and two daughters.- Actor
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Edward Montgomery Clift (nicknamed 'Monty' his entire life) was born on October 17, 1920 in Omaha, Nebraska, just after his twin sister Roberta (1920-2014) and eighteen months after his brother Brooks Clift. He was the son of Ethel "Sunny" Anderson (Fogg; 1888-1988) and William Brooks Clift (1886-1964). His father made a lot of money in banking but was quite poor during the depression. His mother was born out of wedlock and spent much of her life and the family fortune finding her illustrious southern lineage and raising her children as aristocrats.
At age 13, Monty appeared on Broadway ("Fly Away Home"), and chose to remain in the New York theater for over ten years before finally succumbing to Hollywood. He gained excellent theatrical notices and soon piqued the interests of numerous lovelorn actresses; their advances met with awkward conflict. While working in New York in the early 1940s, he met wealthy former Broadway star Libby Holman. She developed an intense decade-plus obsession over the young actor, even financing an experimental play, "Mexican Mural" for him. It was ironic his relationship with the bisexual middle-aged Holman would be the principal (and likely the last) heterosexual relationship of his life and only cause him further anguish over his sexuality. She would wield considerable influence over the early part of his film career, advising him in decisions to decline lead roles in Sunset Boulevard (1950), (originally written specifically for him; the story perhaps hitting a little too close to home) and High Noon (1952).
His long apprenticeship on stage made him a thoroughly accomplished actor, notable for the intensity with which he researched and approached his roles. By the early 1950s he was exclusively homosexual, though he continued to hide his homosexuality and maintained a number of close friendships with theater women (heavily promoted by studio publicists).
His film debut was Red River (1948) with John Wayne quickly followed by his early personal success The Search (1948) (Oscar nominations for this, A Place in the Sun (1951), From Here to Eternity (1953) and Judgment at Nuremberg (1961)). By 1950, he was troubled with allergies and colitis (the U.S. Army had rejected him for military service in World War II for chronic diarrhea) and, along with pill problems, he was alcoholic. He spent a great deal of time and money on psychiatry.
In 1956, during filming of Raintree County (1957), he ran his Chevrolet into a tree after leaving a party at Elizabeth Taylor's; it was she who saved him from choking by pulling out two teeth lodged in his throat. His smashed face was rebuilt, he reconciled with his estranged father, but he continued bedeviled by dependency on drugs and his unrelenting guilt over his homosexuality.
With his Hollywood career in an irreversible slide despite giving an occasional riveting performance, such as in Stanley Kramer's Judgment at Nuremberg (1961), Monty returned to New York and tried to slowly develop a somewhat more sensible lifestyle in his brownstone row house on East 61st Street in Manhattan. He was set to play in Taylor's Reflections in a Golden Eye (1967), when he died in the early morning hours of July 23, 1966, at his home at age 45. His body was found by his live-in personal secretary/companion Lorenzo James, who found Clift lying nude on top of his bed, dead from what the autopsy called "occlusive coronary artery disease." Clift's last 10 years prior to his death from his 1956 car accident were called the "longest suicide in history" by famed acting teacher Robert Lewis.- Actor
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Dean Robert Stockwell grew up in North Hollywood, the son of Broadway performers Harry Stockwell and Elizabeth "Betty" Stockwell (née Veronica). His vaudevillian father was a replacement Curly in the original production of "Oklahoma!". He was also a decent tenor whose voice was used for the part of Prince Charming in Disney's Snow White and the Seven Dwarfs (1937). Dean's mother was a one-time Broadway chorine who used the stage moniker "Betty Veronica." His older brother was the actor Guy Stockwell.
At the age of seven, Dean made his stage debut in a Theater Guild production of Paul Osborn's The Innocent Voyage, in which his brother was also cast. The play ran for nine month. Dean was eventually spotted by a talent scout, and, on the strength of his performance, was signed by MGM in 1945. Under contract until 1947 (and again from 1949 to 1950), Stockwell became a highly sought-after child star in films like Anchors Aweigh (1945), with Gene Kelly and Frank Sinatra, The Green Years (1946) and Song of the Thin Man (1947). His impish, dimpled looks and tousled brown hair combined with genuine acting talent kept him on the box office front line for more than a decade. Having won a Golden Globe Award as Best Juvenile Actor for Gentleman's Agreement (1947) (on loan-out to 20th Century Fox), Stockwell went on to play the title role in an adaptation of Rudyard Kipling's Kim (1950). He came to admire his co-star Errol Flynn as a sort of role model. Thereafter, Stockwell segued into television for several years until resurfacing as a mature actor in Richard Fleischer's Compulsion (1959), (based on the infamous Leopold & Loeb murder case), co-starring with Bradford Dillman as one of the two young killers, and Orson Welles. He had already played the part on Broadway in 1957, on this occasion partnering Roddy McDowall. His last film role of note in the early 60s was as Edmund Tyrone in Eugene O'Neill's Long Day's Journey Into Night (1962). Despite developing a drinking problem on the set (for which he was chastised by Katharine Hepburn), Stockwell gave a solid performance which he later described as a career highlight.
Stockwell dropped out of show biz for some time in the 60s to join the hippie scene at which time he befriended Neil Young and Dennis Hopper. Later in the decade, he made a gleeful comeback in low budget psychedelic counterculture (Psych-Out (1968)) biker films (The Loners (1972)) and horror comedies (The Werewolf of Washington (1973)). Keeping a considerably lower profile during the 70s, he became a frequent TV guest star in popular crime dramas like Mannix (1967), Columbo (1971) The Streets of San Francisco (1972) and Police Story (1973). By the early 80s, work opportunities had become scarcer and Stockwell was compelled to briefly sideline as a real estate broker. He nonetheless managed to make a comeback with a co-starring role in the Wim Wenders road movie Paris, Texas (1984). New York Times reviewer Vincent Canby wrote of his performance "Mr. Stockwell, the former child star, has aged very well, becoming an exceptionally interesting, mature actor." Stockwell subsequently enjoyed high billing in David Lynch's noirish psycho-thriller Blue Velvet (1986) and received an Oscar nomination for his Mafia don Tony "The Tiger" Russo in Married to the Mob (1988). His television career also flourished, as cigar-smoking, womanizing rear admiral Al Calavicci in the popular science fiction series Quantum Leap (1989). The role won him a Golden Globe Award in 1990 and a new generation of fans. When the show ended after five seasons, Stockwell remained gainfully employed for another decade, still frequently seen as political or military authority figures (Navy Secretary Edward Sheffield in JAG (1995), Defence Secretary Walter Dean in Air Force One (1997)) or evil alien antagonists (Colonel Grat in Star Trek: Enterprise (2001), humanoid Cylon John Cavil in Battlestar Galactica (2004)).
Outside of acting, Stockwell embraced environmental issues and exhibited works of art, notably collages and sculptures. In 2015, he was forced to retire from acting after suffering a stroke. Stockwell died on November 7, 2021 due to natural causes at the age of 85.- Actor
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Salvatore (Sal) Mineo Jr. was born to Josephine and Sal Sr. (a casket maker), who emigrated to the U.S. from Sicily. His siblings were Michael, Victor and Sarina. Sal was thrown out of parochial school and, by age eight, was a member of a street gang in a tough Bronx neighborhood. His mother enrolled him in dancing school and, after being arrested for robbery at age ten, he was given a choice of juvenile confinement or professional acting school.
He soon appeared in the theatrical production "The Rose Tattoo" with Maureen Stapleton and Eli Wallach and as the young prince in "The King and I" with Gertrude Lawrence and Yul Brynner. At age 16 he played a much younger boy in Six Bridges to Cross (1955) with Tony Curtis and later that same year played Plato in James Dean's Rebel Without a Cause (1955). He was nominated for Best Supporting Actor for his performance in this film and again for his role as Dov Landau in Exodus (1960).
Expanding his repertoire, Mineo returned to the theatre to direct and star in the play "Fortune and Men's Eyes" with successful runs in both New York and Los Angeles. In the late 1960s and 1970s he continued to work steadily in supporting roles on TV and in film, including Dr. Milo in Escape from the Planet of the Apes (1971) and Harry O (1973). In 1975 he returned to the stage in the San Francisco hit production of "P.S. Your Cat Is Dead". Preparing to open the play in Los Angeles in 1976 with Keir Dullea, he returned home from rehearsal the evening of February 12th when he was attacked and stabbed to death by a stranger. A drifter named Lionel Ray Williams was arrested for the crime and, after trial in 1979, convicted and sentenced to life in prison for the murder, but was paroled in 1990. Although taken away far too soon, the memory of Sal Mineo continues to live on through the large body of TV and film work that he left behind.- Christopher Jones was a brief cult star of the late '60s counterculture era and a would-be rebel successor to James Dean had he wanted it. Born William Franklin Jones amid rather impoverished surroundings to a grocery clerk in Jackson, Tennessee, in 1941, his artist mother had to be institutionalized when Chris was 4. She died in a mental facility in 1960, and this was always to haunt him. He shifted back and forth between homes and orphanages and was placed in Boys Town at one point to straighten out his life.
Chris joined the service as a young adult but went AWOL just two days later. After serving out his time on Governor's Island for this infraction, he moved to New York and studied painting, meeting a motley crew of actors and artists. Friends were startled by his moody nature and uncanny resemblance to the troubled Dean and he was encouraged to audition for the Actors Studio. He was accepted and eventually won the Broadway role of Pancho in "The Night of the Iguana" in 1961. Chris wound up marrying acting coach Lee Strasberg's daughter, Susan Strasberg, in 1965, but his erratic behavior would send her packing after three years and two children.
Chris's brooding good looks and undeniable charisma led him straight to Hollywood and, following a few TV episodic parts, earned the title film role of Chubasco (1968) co-starring then-wife Susan. He then earned cult stardom in Wild in the Streets (1968) as Max Frost, a rock star who becomes president. This popular satire, in turn, led another movie satire as the college boy Lothario in the interracial sex triangle Three in the Attic (1968) and such distinguished international projects as The Looking Glass War (1970), Jardines de España (1957) and Ryan's Daughter (1970). But the trappings of success quickly got to him.
Numerous entanglements with the Hollywood "in crowd" eventually took their toll, including those with Pamela Courson (Jim Morrison's girlfriend at the time), the ill-fated Sharon Tate, one-time co-star Pia Degermark, and Olivia Hussey. Not only did his volatile relationships with directors also leave him depressed, but his personal life remained in constant turmoil. Morrison's early drug-related death and Tate's particularly brutal murder hit him particularly hard and led to a breakdown.
Chris split the Hollywood scene altogether to regain himself but instead ended up a victim of the Sunset Strip drug culture for a time. He eventually cleaned up his act and two subsequent relationships led to five more children. He also turned to painting and sculpting as creative outlets and lived the Southern California beach scene. Little was heard until decades later when Quentin Tarantino offered him a part in Pulp Fiction (1994). The now reclusive and eccentric Jones turned down a role in that, but later decided to take on a cameo part in friend Larry Bishop's crime comedy-drama Mad Dog Time (1996) a couple of years later. This proved to be his only return to acting. Chris died of gall bladder cancer in 2014 at age 72. - Actor
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William Shatner has notched up an impressive 70-plus years in front of the camera, displaying heady comedic talent and being instantly recognizable to several generations of cult television fans as the square-jawed Captain James T. Kirk, commander of the starship U.S.S. Enterprise.
Shatner was born in Côte Saint-Luc, Montréal, Québec, Canada, to Anne (Garmaise) and Joseph Shatner, a clothing manufacturer. His father was a Jewish emigrant from Bukovina in the Austro-Hungarian Empire, while his maternal grandparents were Lithuanian Jews. After graduating from university, he joined a local Summer theatre group as an assistant manager. He then performed with the National Repertory Theatre of Ottawa and at the Stratford, Ontario, Shakespeare Festival as an understudy working with such as Alec Guinness, James Mason, and Anthony Quayle. He came to the attention of New York critics and was soon playing important roles in major shows on live television.
Shatner spent many years honing his craft before debuting alongside Yul Brynner in The Brothers Karamazov (1958). He was kept busy during the 1960s in films such as Judgment at Nuremberg (1961) and The Intruder (1962) and on television guest-starring in dozens of series such as Alfred Hitchcock Presents (1955), The Defenders (1961), The Outer Limits (1963) and The Twilight Zone (1959). In 1966, Shatner boarded the USS Enterprise for three seasons of Star Trek (1966), co-starring alongside Leonard Nimoy, with the series eventually becoming a bona-fide cult classic with a worldwide legion of fans known variously as "Trekkies" or "Trekkers".
After "Star Trek" folded, Shatner spent the rest of the decade and the 1970s making the rounds, guest-starring on many prime-time television series, including Hawaii Five-O (1968), Marcus Welby, M.D. (1969) and Ironside (1967). He has also appeared in several feature films, but they were mainly B-grade (or lower) fare, such as the embarrassingly bad Euro western White Comanche (1968) and the campy Kingdom of the Spiders (1977). However, the 1980s saw a major resurgence in Shatner's career with the renewed interest in the original Star Trek (1966) series culminating in a series of big-budget "Star Trek" feature films, including Star Trek: The Motion Picture (1979), Star Trek II: The Wrath of Khan (1982), Star Trek III: The Search for Spock (1984), Star Trek IV: The Voyage Home (1986), Star Trek V: The Final Frontier (1989) and Star Trek VI: The Undiscovered Country (1991). In addition, he starred in the lightweight police series T.J. Hooker (1982) from 1982 to 1986, alongside spunky Heather Locklear, and surprised many fans with his droll comedic talents in Airplane II: The Sequel (1982), Loaded Weapon 1 (1993) and Miss Congeniality (2000).
He has most recently been starring in the David E. Kelley television series The Practice (1997) and its spin-off Boston Legal (2004).
Outside of work, he jogs and follows other athletic pursuits. His interest in health and nutrition led to him becoming spokesman for the American Health Institute's 'Know Your Body' program to promote nutritional and physical health.- Actor
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Christian Marquand was born on 15 March 1927 in Marseille, France. He was an actor and director, known for Apocalypse Now (1979), The Longest Day (1962) and The Flight of the Phoenix (1965). He was married to Tina Aumont. He died on 22 November 2000 in Ivry-sur-Seine, Val-de-Marne, France.- Actor
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Dreamy Tab Hunter stood out in film history as one of the hottest teen idols of the 1950s era. With blond, tanned, surfer-boy good looks, he was artificially groomed and nicknamed "The Sigh Guy" by the Hollywood studio system, yet managed to continue his career long after his "golden boy" prime.
Hunter was born Arthur Kelm on July 11, 1931 in New York City, to Gertrude (Gelien) and Charles Kelm. His father was Jewish and his mother was a German Catholic immigrant. Following his parents' divorce, Hunter grew up in California with his mother, older brother Walter, and maternal grandparents, Ida (Sonnenfleth) and John Henry Gelien. His mother changed her sons' surnames to her maiden name, Gelien. Leaving school and joining the Coast Guard at age fifteen (he lied about his age), he was eventually discharged when the age deception was revealed. Returning home, his life-long passion for horseback riding led to a job with a riding academy.
Hunter's fetching handsomeness and trim, athletic physique eventually steered the Californian toward the idea of acting. An introduction to famed agent Henry Willson had Tab signing on the dotted line and what emerged, along with a major career, was the stage moniker of "Tab Hunter." Willson was also responsible with pointing hopeful Roy Fitzgerald towards stardom under the pseudonym Rock Hudson. With no previous experience Tab made his first, albeit minor, film debut in the racially trenchant drama The Lawless (1950) starring Gail Russell and Macdonald Carey. His only line in the movie was eventually cut upon release. It didn't seem to make a difference for he co-starred in his very next film, the British-made Island of Desire (1952) opposite a somewhat older (by ten years) Linda Darnell, which was set during WWII on a deserted, tropical South Seas isle. His shirt remained off for a good portion of the film, which certainly did not go unnoticed by his ever-growing legion of female (and male) fans.
Signed by Warner Bros., stardom was clinched a few years later with another WWII epic Battle Cry (1955), based on the Leon Uris novel, in which he again played a boyish soldier sharing torrid scenes with an older woman (this time Dorothy Malone, playing a love-starved Navy wife). Thoroughly primed as one of Hollywood's top beefcake commodities, the tabloid magazines had a field day initiating an aggressive campaign to "out" Hunter as gay, which would have ruined him. To combat the destructive tactics, Tab was seen escorting a number of Hollywood's lovelies at premieres and parties. In the meantime, he was seldom out of his military fatigues on film, keeping his fans satisfied in such popular dramas as The Sea Chase (1955), The Burning Hills (1956) and The Girl He Left Behind (1956)--the last two opposite the equally popular Natalie Wood. At around this time, Hunter managed to parlay his boy-next-door film celebrity into a singing career. He topped the charts for over a month with the single "Young Love" in 1957 and produced other "top 40" singles as well.
Like other fortunate celebrity-based singers such as Shelley Fabares and Paul Petersen, his musical reign was brief. Out of it, however, came the most notable success of his film career top-billing as baseball fan Joe Hardy in the classic Faustian musical Damn Yankees (1958) opposite Gwen Verdon and Ray Walston, who recreated their devil-making Broadway roles. Musically, Tab may have been overshadowed but he brought with him major star power and the film became a crowd pleaser. He continued on with the William A. Wellman-directed Lafayette Escadrille (1958) as, yet again, a wholesome soldier, this time in World War I. More spicy love scenes came with That Kind of Woman (1959), an adult comedy-drama which focused on soldier Hunter and va-va-voom mistress Sophia Loren demonstrating some sexual chemistry on a train.
Seldom a favorite with the film critics, the 1960s brought about a career change for Tab. He begged out of his restrictive contract with Warners and ultimately paid the price. With no studio to protect him, he was at the mercy of several trumped-up lawsuits. Worse yet, handsome Troy Donahue had replaced him as the new beefcake on the block. With no film offers coming his way, he starred in his own series The Tab Hunter Show (1960), a rather featherweight sitcom that centered around his swinging bachelor pad. The series last only one season. On the positive side he clocked in with over 200 TV programs over the long stretch and was nominated for an Emmy award for his outstanding performance opposite Geraldine Page in a Playhouse 90 episode. Following the sparkling film comedy The Pleasure of His Company (1961) opposite Debbie Reynolds, the quality of his films fell off drastically as he found himself top-lining such innocuous fare as Operation Bikini (1963), Ride the Wild Surf (1964) (1965), City in the Sea (1965) [aka War-Gods of the Deep], and Birds Do It (1966) both here and overseas.
As for stage, a brief chance to star on Broadway happened in 1964 alongside the highly volatile Tallulah Bankhead in Tennessee Williams's "The Milk Train Doesn't Stop Here Anymore." It lasted five performances. He then started to travel the dinner theater circuit. Enduring a severe lull, Tab bounced back in the 1980s and 1990s -- more mature, less wholesome, but ever the looker. He gamely spoofed his old clean-cut image by appearing in delightfully tasteless John Waters' films as a romantic dangling carrot to heavyset transvestite "actress" Divine. Polyester (1981) was the first mainstream hit for Waters and Tab went on to team up with Allan Glaser to co-produce and co-star a Waters-like western spoof Lust in the Dust (1984).
Co-starring with "Exorcist" star Linda Blair in the bizarre horror film Grotesque (1988), Tab's last on-camera appearance would be in a small role in the film Dark Horse (1992), which he produced. He preferred spending most of his time secluded on his ranch and breeding horses. In 2005, he returned to the limelight when he "came out" with a tell-all memoir on his Hollywood years. His long-time partner was film producer Allan Glaser.
Tab died on July 8, 2018, in Santa Barbara, California, three days shy of his 87th birthday.- Actor
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He was the ultra-cool male film star of the 1960s, and rose from a troubled youth spent in reform schools to being the world's most popular actor. Over 40 years after his untimely death from mesothelioma in 1980, Steve McQueen is still considered hip and cool, and he endures as an icon of popular culture.
McQueen was born in Beech Grove, Indiana, to mother Julian (Crawford) and father William Terence McQueen, a stunt pilot. His first lead role was in the low-budget sci-fi film The Blob (1958), quickly followed by roles in The St. Louis Bank Robbery (1959) and Never So Few (1959). The young McQueen appeared as Vin, alongside Yul Brynner, in the star-laden The Magnificent Seven (1960) and effectively hijacked the lead from the bigger star by ensuring he was nearly always doing something in every shot he and Brynner were in together, such as adjusting his hat or gun belt. He next scored with audiences with two interesting performances, first in the World War II drama Hell Is for Heroes (1962) and then in The War Lover (1962). Riding a wave of popularity, McQueen delivered another crowd pleaser as Hilts, the Cooler King, in the knockout World War II P.O.W. film The Great Escape (1963), featuring his famous leap over the barbed wire on a motorcycle while being pursued by Nazi troops (in fact, however, the stunt was actually performed by his good friend, stunt rider Bud Ekins).
McQueen next appeared in several films of mixed quality, including Soldier in the Rain (1963); Love with the Proper Stranger (1963) and Baby the Rain Must Fall (1965). However, they failed to really grab audience attention, but his role as Eric Stoner in The Cincinnati Kid (1965), alongside screen legend Edward G. Robinson and Karl Malden, had movie fans filling theaters again to see the ice-cool McQueen they loved. He was back in another Western, Nevada Smith (1966), again with Malden, and then he gave what many consider to be his finest dramatic performance as loner US Navy sailor Jake Holman in the superb The Sand Pebbles (1966). McQueen was genuine hot property and next appeared with Faye Dunaway in the provocative crime drama The Thomas Crown Affair (1968), next in what many consider his signature role, that of a maverick, taciturn detective in the mega-hit Bullitt (1968), renowned for its famous chase sequence through San Francisco between McQueen's Ford Mustang GT and the killer's black Dodge Charger.
Interestingly, McQueen's next role was a total departure from the action genre, as he played Southerner Boon Hogganbeck in the family-oriented The Reivers (1969), based on the popular William Faulkner novel. Not surprisingly, the film didn't go over particularly well with audiences, even though it was an entertaining and well made production, and McQueen showed an interesting comedic side of his acting talents. He returned to more familiar territory, with the race film Le Mans (1971), a rather self-indulgent exercise, and its slow plot line contributed to its rather poor performance in theaters. It was not until many years later that it became something of a cult film, primarily because of the footage of Porsche 917s roaring around race tracks in France. McQueen then teamed up with maverick Hollywood director Sam Peckinpah to star in the modern Western Junior Bonner (1972), about a family of rodeo riders, and again with Peckinpah as bank robber Doc McCoy in the violent The Getaway (1972). Both did good business at the box office. McQueen's next role was a refreshing surprise and Papillon (1973), based on the Henri Charrière novel of the same name, was well received by fans and critics alike. He played a convict on a French penal colony in South America who persists in trying to escape from his captors and feels their wrath when his attempts fail.
The 1970s is a decade remembered for a slew of "disaster" movies and McQueen starred in arguably the biggest of the time, The Towering Inferno (1974). He shared equal top billing with Paul Newman and an impressive line-up of co-stars including Fred Astaire, Robert Vaughn and Faye Dunaway. McQueen does not appear until roughly halfway into the film as San Francisco fire chief Mike O'Halloran, battling to extinguish an inferno in a 138-story skyscraper. The film was a monster hit and set the benchmark for other disaster movies that followed. However, it was McQueen's last film role for several years. After a four-year hiatus he surprised fans, and was almost unrecognizable under long hair and a beard, as a rabble-rousing early environmentalist in An Enemy of the People (1978), based on the Henrik Ibsen play.
McQueen's last two film performances were in the unusual Western Tom Horn (1980), then he portrayed real-life bounty hunter Ralph "Papa' Thorson (Ralph Thorson) in The Hunter (1980). In 1978, McQueen developed a persistent cough that would not go away. He quit smoking cigarettes and underwent antibiotic treatments without improvement. Shortness of breath grew more pronounced and on December 22, 1979, after he completed work on 'The Hunter', a biopsy revealed pleural mesothelioma, a rare lung cancer associated with asbestos exposure for which there is no known cure. The asbestos was thought to have been in the protective suits worn in his race car driving days, but in fact the auto racing suits McQueen wore were made of Nomex, a DuPont fire-resistant aramid fiber that contains no asbestos. McQueen later gave a medical interview in which he believed that asbestos used in movie sound stage insulation and race-drivers' protective suits and helmets could have been involved, but he thought it more likely that his illness was a direct result of massive exposure while removing asbestos lagging from pipes aboard a troop ship while in the US Marines.
By February 1980, there was evidence of widespread metastasis. While he tried to keep the condition a secret, the National Enquirer disclosed that he had "terminal cancer" on March 11, 1980. In July, McQueen traveled to Rosarito Beach, Mexico for an unconventional treatment after American doctors told him they could do nothing to prolong his life. Controversy arose over McQueen's Mexican trip, because McQueen sought a non-traditional cancer treatment called the Gerson Therapy that used coffee enemas, frequent washing with shampoos, daily injections of fluid containing live cells from cows and sheep, massage and laetrile, a supposedly "natural" anti-cancer drug available in Mexico, but not approved by the US Food and Drug Administration. McQueen paid for these unconventional medical treatments by himself in cash payments which was said to have cost an upwards of $40,000 per month during his three-month stay in Mexico. McQueen was treated by William Donald Kelley, whose only medical license had been (until revoked in 1976) for orthodontics.
McQueen returned to the United States in early October 1980. Despite metastasis of the cancer through McQueen's body, Kelley publicly announced that McQueen would be completely cured and return to normal life. McQueen's condition soon worsened and "huge" tumors developed in his abdomen. In late October, McQueen flew to Ciudad Juarez, Chihuahua, Mexico to have an abdominal tumor on his liver (weighing around five pounds) removed, despite warnings from his American doctors that the tumor was inoperable and his heart could not withstand the surgery. McQueen checked into a Juarez clinic under the alias "Sam Shepard" where the local Mexican doctors and staff at the small, low-income clinic were unaware of his actual identity.
Steve McQueen passed away on November 7, 1980, at age 50 after the cancer surgery which was said to be successful. He was cremated and his ashes were scattered at sea. He married three times and had a lifelong love of motor racing, once remarking, "Racing is life. Anything before or after is just waiting.".- Actor
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Veteran actor and director Robert Selden Duvall was born on January 5, 1931, in San Diego, CA, to Mildred Virginia (Hart), an amateur actress, and William Howard Duvall, a career military officer who later became an admiral. Duvall majored in drama at Principia College (Elsah, IL), then served a two-year hitch in the army after graduating in 1953. He began attending The Neighborhood Playhouse School of the Theatre In New York City on the G.I. Bill in 1955, studying under Sanford Meisner along with Dustin Hoffman, with whom Duvall shared an apartment. Both were close to another struggling young actor named Gene Hackman. Meisner cast Duvall in the play "The Midnight Caller" by Horton Foote, a link that would prove critical to his career, as it was Foote who recommended Duvall to play the mentally disabled "Boo Radley" in To Kill a Mockingbird (1962). This was his first "major" role since his 1956 motion picture debut as an MP in Somebody Up There Likes Me (1956), starring Paul Newman.
Duvall began making a name for himself as a stage actor in New York, winning an Obie Award in 1965 playing incest-minded longshoreman "Eddie Carbone" in the off-Broadway revival of Arthur Miller's "A View from the Bridge", a production for which his old roommate Hoffman was assistant director. He found steady work in episodic TV and appeared as a modestly billed character actor in films, such as Arthur Penn's The Chase (1966) with Marlon Brando and in Robert Altman's Countdown (1967) and Francis Ford Coppola's The Rain People (1969), in both of which he co-starred with James Caan.
He was also memorable as the heavy who is shot by John Wayne at the climax of True Grit (1969) and was the first "Maj. Frank Burns", creating the character in Altman's Korean War comedy M*A*S*H (1970). He also appeared as the eponymous lead in George Lucas' directorial debut, THX 1138 (1971). It was Francis Ford Coppola, casting The Godfather (1972), who reunited Duvall with Brando and Caan and provided him with his career breakthrough as mob lawyer "Tom Hagen". He received the first of his six Academy Award nominations for the role.
Thereafter, Duvall had steady work in featured roles in such films as The Godfather Part II (1974), The Killer Elite (1975), Network (1976), The Seven-Per-Cent Solution (1976) and The Eagle Has Landed (1976). Occasionally this actor's actor got the chance to assay a lead role, most notably in Tomorrow (1972), in which he was brilliant as William Faulkner's inarticulate backwoods farmer. He was less impressive as the lead in Badge 373 (1973), in which he played a character based on real-life NYPD detective Eddie Egan, the same man his old friend Gene Hackman had won an Oscar for playing, in fictionalized form as "Popeye Doyle" in The French Connection (1971).
It was his appearance as "Lt. Col. Kilgore" in another Coppola picture, Apocalypse Now (1979), that solidified Duvall's reputation as a great actor. He got his second Academy Award nomination for the role, and was named by the Guinness Book of World Records as the most versatile actor in the world. Duvall created one of the most memorable characters ever assayed on film, and gave the world the memorable phrase, "I love the smell of napalm in the morning!"
Subsequently, Duvall proved one of the few established character actors to move from supporting to leading roles, with his Oscar-nominated turns in The Great Santini (1979) and Tender Mercies (1983), the latter of which won him the Academy Award for Best Actor. Now at the summit of his career, Duvall seemed to be afflicted with the fabled "Oscar curse" that had overwhelmed the careers of fellow Academy Award winners Luise Rainer, Rod Steiger and Cliff Robertson. He could not find work equal to his talents, either due to his post-Oscar salary demands or a lack of perception in the industry that he truly was leading man material. He did not appear in The Godfather Part III (1990), as the studio would not give in to his demands for a salary commensurate with that of Al Pacino, who was receiving $5 million to reprise Michael Corleone.
His greatest achievement in his immediate post-Oscar period was his triumphant characterization of grizzled Texas Ranger Gus McCrae in the TV mini-series Lonesome Dove (1989), for which he received an Emmy nomination. He received a second Emmy nomination and a Golden Globe for his portrayal of Soviet dictator Joseph Stalin in Stalin (1992), and a third Emmy nomination playing Nazi war criminal Adolf Eichmann in The Man Who Captured Eichmann (1996).
The shakeout of his career doldrums was that Duvall eventually settled back into his status as one of the premier character actors in the industry, rivaled only by his old friend Gene Hackman. Duvall, unlike Hackman, also has directed pictures, including the documentary We're Not the Jet Set (1974), Angelo My Love (1983) and Assassination Tango (2002). As a writer-director, Duvall gave himself one of his most memorable roles, that of the preacher on the run from the law in The Apostle (1997), a brilliant performance for which he received his third Best Actor nomination and fifth Oscar nomination overall. The film brought Duvall back to the front ranks of great actors, and was followed by a Best Supporting Actor Oscar nod for A Civil Action (1998).
Robert Duvall will long be remembered as one of the great naturalistic American screen actors in the mode of Spencer Tracy and his frequent co-star Marlon Brando. His performances as "Boo Radley" in To Kill a Mockingbird (1962), "Jackson Fentry" in Tomorrow (1972), "Tom Hagen" in the first two "Godfather" movies, "Frank Hackett" in Network (1976), "Lt. Col. Kilgore" in Apocalypse Now (1979), "Bull Meechum" in The Great Santini (1979), "Mac Sledge" in Tender Mercies (1983), "Gus McCrae" in Lonesome Dove (1989) and "Sonny Dewey" in The Apostle (1997) rank as some of the finest acting ever put on film. It's a body of work that few actors can equal, let alone surpass.- Producer
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Although younger brother Dwayne Hickman (born 1934) is probably the better-remembered sibling today with his cult following as TV's favorite lovestruck teenager Dobie Gillis and a few "Beach Party" films, it is Darryl Hickman who is certainly the more prolific brother in the movies. At one time, he was deemed one of Hollywood's most talented child stars of World War II and post-war film.
Hickman was born in Hollywood, California on July 28, 1931, to Milton Hickman, an insurance salesman, and his wife Katherine, a mother-turned-stage mother. Taking dance classes at age 3, Darryl's looks and talent were discovered by his dance school director who eventually had him placed with a child troupe at age 5 (Meglin School for Kiddies). Paramount Studios subsequently took notice and signed him to a contract, making his unbilled film debut as Ronald Colman's son in the classic adventure The Prisoner of Zenda (1937). The child then appeared briefly in a second Colman film, If I Were King (1938). Darryl would grow up within the studio system and on the studio sets. Fellow classmates would include such stars as Jackie Cooper.
Appearing in the Bing Crosby musical biopic The Star Maker (1939), Crosby took notice of young Darryl's promise and referred him to his talent agent brother Everett Crosby. Everett was impressed as well, and took Darryl under his wing. Placed in the Paramount films Untamed (1940) and The Way of All Flesh (1940), the boy was eventually featured in his most prominent role, that of young, impoverished Winfield Joad in the classic film The Grapes of Wrath (1940). MGM quickly showed interest and bought out the boy's Paramount contract.
A popular loan-out child player, Darryl appeared in a "poverty row" version of one of Jack London's more popular adventure stories Sign of the Wolf (1941); appeared in 12-year-old Shirley Temple's last film for Fox Young People (1940); showed up in Universal's Mob Town (1941) and another Fox film Young America (1942). While at MGM, Darryl found himself working with the studio's top echelon of stars including Spencer Tracy, Katharine Hepburn, Robert Taylor and Mickey Rooney. Notable in-house roles included that of "Flip" in Men of Boys Town (1941), "Johnny Smith" in Joe Smith, American (1942), "(young) Blackie" in Northwest Rangers (1942); "Jeb" in the Tracy/Hepburn drama Keeper of the Flame (1942), "Etienne" in Assignment in Brittany (1943), and as young "Lionel" in the classic "Americana" film The Human Comedy (1943).
Darryl progressed from child to juvenile parts with equal skill. He was featured in the role of WWI flying ace Eddie Rickenbacker as a lad in the biopic Captain Eddie (1945) starring Fred MacMurray and also featuring brother Dwayne; played composer Ira as a teenager in the Gershwin story Rhapsody in Blue (1945); reunited with Shirley Temple in the "Corliss Archer" comedy Kiss and Tell (1945); played the ill-fated brother-in-law of evil Gene Tierney in the drama Leave Her to Heaven (1945); portrayed the younger version of Van Heflin in the film noir The Strange Love of Martha Ivers (1946); tangled with priest Pat O'Brien as a young troublemaker in the "Boy's Town"-like crime drama Fighting Father Dunne (1948); was upgraded to Shirley Temple's boyfriend in the light comedy A Kiss for Corliss (1949); played a prep school problem along with co-star Dean Stockwell in the comedy The Happy Years (1950) and a disturbed ranch caretaker along with equally disturbed older sister Mercedes McCambridge in the heavy meller Lightning Strikes Twice (1951).
Darryl attended the Immaculate Heart Grammar School in Los Angeles as well as the studio schools at Paramount and then MGM. In September of 1951, 20-year-old Darryl, who had grown unhappy and disenchanted with Hollywood and the studio system in its inability to protect child actors, abandoned his career and entered a monastery, the Passionist Seminary, with the intent on becoming a priest. Within a year, however, he left when he realized he was not cut out for a life in the priesthood.
Trying to regain his acting momentum proved admirable and challenging. He began on 50's TV with guest shots on such shows as "Sky King," "The Lone Ranger," "Annie Oakley," "Biff Baker, U.S.A., "Perry Mason," "Public Defenders," "Alfred Hitchcock Presents," "Wanted: Dead or Alive," "Gunsmoke," "The Millionaire" and several anthology programs. He also guested on brother Dwayne's popular "Dobie Gillis" TV show. On the film front, he found featured roles in Destination Gobi (1953), Island in the Sky (1953), Prisoner of War (1954), Tea and Sympathy (1956), The Persuader (1957) and The Tingler (1959).
By the early 1960's, as film and TV offers began to dry up, Darryl wisely moved behind the scenes. Starting out as a TV writer, he eventually became a program executive. In the 70's he briefly attempted TV producing. In later years he would also become a respected acting coach in the Los Angeles area. Never leaving acting altogether, he made 60's and 70's guest appearances on such shows as "Walt Disney's Wonderful World of Color," "Dr. Kildare," "Love, American Style," "All in the Family" and "Maude," before finding an "in" with an abundance of 80's animated voice work: Space Stars (1981), Pac-Man (1982), The Biskitts (1983), The Greatest Adventure: Stories from the Bible (1985) and A Pup Named Scooby-Doo (1988). One of his last visible appearances was in a 1999 episode of "The Nanny."
Darryl married actress Pamela Lincoln, whom he first met on the film set of The Tingler (1959). They had one child, but divorced in 1982. He is married presently to production assistant Lynda Farmer Hickman.- Actor
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Terence was born in London and spent his early years watching American films and dreamed of being like the stars on the screen, He was awarded a scholarship for the Webber Douglas School of Dramatic Art. In his second year, during an audition, Peter Ustinov signed him for the title role in Billy Budd (1962). This was not only his remarkable film debut but his performance earned him his first and only Oscar nomination too in 1962 and marked the start of his international stardom. He consolidated his career by working with some of the top directors such as William Wyler (The Collector (1965)), Joseph Losey (Modesty Blaise (1966)), John Schlesinger (Far from the Madding Crowd (1967)), Ken Loach (Poor Cow (1967)) and Pier Paolo Pasolini (Teorema (1968)). He then took a break from films and traveled around the world returning to cinema in a variety of films including, among others, Superman (1978), Meetings with Remarkable Men (1979), Superman II (1980), The Hit (1984) (for which he was awarded the Grand Medaille de Vermeil in Paris), Legal Eagles (1986), The Sicilian (1987), Wall Street (1987), Young Guns (1988), Alien Nation (1988), The Adventures of Priscilla, Queen of the Desert (1994), Valkyrie (2008) and Unfinished Song (2012). He has also published the first two instalments of his autobiography, Stamp Album, which became a best seller.- Actor
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Adam West was born William West Anderson on September 19, 1928 in Walla Walla, Washington, to parents Otto West Anderson, a farmer, and his wife Audrey V. (Speer), an opera singer. At age 10, in 1938, West had a cache of comic books; and starting in 1939, Batman, who appeared in Detective Comics, made a big impression on him--the comic hero was part bat-man (a la Count Dracula) and part world's greatest detective (a la Charlie Chan and Sherlock Holmes). When his mother remarried to a Dr. Paul Flothow, she took West and his younger brother, John, to Seattle. At age 14, West attended Lakeside School, then went to Whitman College, where he got a degree in literature and psychology. During his last year of college, he married 17-year-old Billie Lou Yeager.
West got a job as a disc jockey at a local radio station, then enrolled at Stanford for post-grad courses. Drafted into the army, he spent the next two years starting military television stations, first at San Luis Obispo, California, then at Fort Monmouth, New Jersey. Afterwards, West and his wife toured Europe, visiting Germany, Switzerland and Italy's Isle of Capri. When the money ran out, he joined a childhood and college buddy, Carl Hebenstreit, who was starring in the kiddie program "The Kini Popo Show" in Hawaii. West would eventually replace Carl but not the other star, Peaches the Chimp. In 1956, he got a divorce and married a beautiful girl, originally from Tahiti, named Ngatokoruaimatauaia Frisbie Dawson (he called her "Nga" for short). They had a daughter, Jonelle (born 1957), and a son, Hunter (born 1958). In 1959, West came to Hollywood. He adopted the stage name "Adam West", which fit his roles, as he was in some westerns.
After seven years in Tinseltown, he achieved fame in his signature role as Bruce Wayne / Batman, on the wildly popular ABC-TV series Batman (1966) (though he has over 60 movie and over 80 television guest appearance credits, "Batman" is what the fans remember him for). The series, which lasted three seasons, made him not just nationally but internationally famous. The movie version, Batman: The Movie (1966), earned West the "Most Promising New Star" award in 1967. The downside was that the "Batman" fame was partly responsible for ruining his marriage, and he was typecast and almost unemployable for a while after the series ended (he did nothing but personal appearances for two years).
In 1970, he met and then married Marcelle Tagand Lear, and picked up two stepchildren, Moya and Jill. In addition, they had two children of their own: Nina West in 1976 and Perrin in 1979. You can't keep a good actor down--West's career took off again, and he appeared in 50 projects after that: movies, television movies and sometimes doing voices on television series. West wrote his autobiography, "Back to the Batcave" (1994). One of his most prized possessions was a drawing of Batman by Bob Kane with the inscription "To my buddy, Adam, who breathed life into my pen and ink creation". Beginning in 2000, West made guest appearances on the animated series Family Guy (1999), on which he played Mayor Adam West, the lunatic mayor of Quahog, Rhode Island.
On June 9, 2017, Adam West died at age 88 after a brief battle with leukemia in Los Angeles, California. On June 15, 2017, Los Angeles shone the bat-signal on City Hall, and Walla Walla shone the bat-signal on the Whitman Tower, both as a tribute to West.- Actor
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Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name of his best-selling 1988 autobiography) to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born on December 9, 1916 in Amsterdam, New York. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. Professional wrestling helped pay for his studies as did working on the side as a waiter and a bellboy. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He made his Broadway debut in "Spring Again" before his career was interrupted by World War II. He joining the United States Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall, movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1947), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now."
After appearing in "I Walk Alone," Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli. In 1955, Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence, Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.
Douglas remained busy throughout the 1960s, starring in many films. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally in 1963, he starred in an onstage production of Ken Kesey's "One Flew Over the Cuckoo's Nest," but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson. Into the 1970s, Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).
Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded with the Presidential Medal of Freedom (1981), and with the Jefferson Award (1983). Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remained active and continued to appear in front of the camera. Until his passing on February 5 2020 at the age of 103, he and Olivia de Havilland were the last surviving major stars from the Golden Years of Hollywood.- Actor
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Gary Lockwood was born John Gary Yurosek in Van Nuys, California to John and Margaret Emma (Kiel) Yurosek . He attended UCLA on a football scholarship.
He began his career as a movie stuntman, and a stand-in for Anthony Perkins, prior to his acting debut in 1959 in an uncredited bit role in Warlock (1959). He also appeared as a police officer in The Case of the Romantic Rogue (1959). Two series came early in his career, ABC's Hawaii-set Follow the Sun (1961) (1961-62) as an adventurous magazine writer in Honolulu. In 1961, he appeared as a rodeo cowboy in love with an 18-year-old singer (played by Tuesday Weld) in ABC's Cherie (1961). He then starred with Lloyd Bridges in My Daddy Can Lick Your Daddy (1963). In 1964, he starred as a young U.S. Marine lieutenant in the NBC series, The Lieutenant (1963). He then starred in another NBC television series, Kraft Mystery Theater (1961), opposite Sally Kellerman (with whom he would later appear in the second Star Trek (1966) pilot, Where No Man Has Gone Before (1966)) as "Lt. Cmdr. Gary Mitchell", and Kellerman as the ship's psychiatrist, "Dr. Elizabeth Dehner", who both develop destructive super powers.
In 1966, he guest-starred in the episode, Reunion (1966), of ABC's The Legend of Jesse James (1965). That same year, he appeared on Day of Thunder (1966) of the NBC's drama The Long, Hot Summer (1965), as well as appearing as "Jim Stark" in the two-part episode "The Raid" of CBS's Gunsmoke (1955).
He co-starred with Stefanie Powers (his wife at the time) in the episode, Love and the Phone Booth/Love and the Doorknob (1969), of ABC's Love, American Style (1969). In 1968, he was cast as the co-star in director Stanley Kubrick's legendary 2001: A Space Odyssey (1968), starring as "Dr. Frank Poole". In 1983, he made a guest appearance as "Alex Carmen" in the Hart to Hart (1979) episode, Emily by Hart (1983).
Between 1959 and 2004, he had roles in some forty theatrical and made-for-TV features and made almost eighty TV guest appearances, including several as a villain on CBS-TV's Barnaby Jones (1973).- Actor
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The son of a Lancashire bookmaker, Albert Finney came to motion pictures via the theatre. In 1956, he won a scholarship to RADA where his fellow alumni included Peter O'Toole and Alan Bates. He joined the Birmingham Repertory where he excelled in plays by William Shakespeare. A member of the Royal Shakespeare Company, Finney understudied Laurence Olivier at Stratford-upon-Avon, eventually acquiring a reputation as 'the new Olivier'. He first came to critical attention by creating the title role in Keith Waterhouse's "Billy Liar" on the London stage. His film debut soon followed with The Entertainer (1960) by Tony Richardson with whom had earlier worked in the theatre. With the changing emphasis in 60s British cinema towards gritty realism and working-class milieus, Finney's typical screen personae became good-looking, often brooding proletarian types and rebellious anti-heroes as personified by his Arthur Seaton in Karel Reisz's Saturday Night and Sunday Morning (1960). His exuberant defining role, however, was in the bawdy period romp Tom Jones (1963) in which Finney revealed a substantial talent for comedy. In the same vein, he scored another hit opposite Audrey Hepburn in the charming marital comedy Two for the Road (1967).
By 1965, Finney had branched out into production, setting up Memorial Enterprises in conjunction with Michael Medwin. In 1968, he directed himself in Charlie Bubbles (1968) and three years later produced the Chandleresque homage Gumshoe (1971), in which he also starred as Eddie Ginley, a bingo-caller with delusions of becoming a private eye. From 1972 to 1975, Finney served as artistic director of the Royal Court Theatre. His intermittent forays to the screen confirmed him as a versatile international actor of note, though not what one might describe as a mainstream star. His roles have ranged from Ebenezer Scrooge in the musical version of Scrooge (1970) to Daddy Warbucks in Annie (1982) and (in flamboyant over-the-top make-up) Hercule Poirot in Murder on the Orient Express (1974). He appeared as Minister of Police Joseph Fouché in Ridley Scott's superb period drama The Duellists (1977) and as a grandiloquent Shakespearean actor in The Dresser (1983) for which he received an Oscar nomination. For the small screen Finney essayed Pope John Paul II (1984) and was a totally believable Winston Churchill in the acclaimed The Gathering Storm (2002). His final movie credit was in the James Bond thriller Skyfall (2012).
Finney was five-times nominated for Academy Awards in 1964, 1975, 1984, 1985 and 2001. He won two BAFTA Awards in 1961 and 2004. True to his working-class roots, he spurned a CBE in 1980 and a knighthood in 2000, later explaining his decision by stating that the 'Sir thing' "slightly perpetuates one of our diseases in England, which is snobbery". Albert Finney was diagnosed with kidney cancer in 2011. He died on February 7 2019 at a London hospital from a chest infection at the age of 82. Upon his death, John Cleese described him as "the best" and "our greatest actor".- Actor
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Lead and supporting actor of the American stage and films, with sandy colored hair, and pale complexion. He won an Oscar as Best Supporting Actor for his performance in The Deer Hunter (1978), and has been seen in mostly character roles, often portraying psychologically unstable individuals, though that generalization would not do justice to Walken's depth and breadth of performances.
Walken was born in Astoria, Queens, New York. His mother, Rosalie (Russell), was a Scottish emigrant, from Glasgow. His father, Paul Wälken, was a German emigrant, from Horst, who ran Walken's bakery. Christopher learned his stage craft, including dancing, at Hofstra University & ANTA, and picked up a Theatre World award for his performance in the revival of the Tennessee Williams play "The Rose Tattoo". Walken then first broke through into cinema in 1969 appearing in Me and My Brother (1968), before appearing alongside Sean Connery in the sleeper heist movie The Anderson Tapes (1971). His eclectic work really came to the attention of critics in 1977 with his intense portrayal of Diane Keaton suicidal younger brother in Annie Hall (1977), and then he scooped the Best Supporting Actor Academy Award in 1977 for his role as Nick in the electrifying The Deer Hunter (1978). Walken was lured back by The Deer Hunter (1978) director Michael Cimino for a role in the financially disastrous western Heaven's Gate (1980), before moving onto surprise audiences with his wonderful dance skills in Pennies from Heaven (1981), taking the lead as a school teacher with telepathic abilities in the Stephen King inspired The Dead Zone (1983) and then as billionaire industrialist Max Zorin trying to blow up Silicon Valley in the 007 adventure A View to a Kill (1985). Looking at many of Walken's other captivating screen roles, it is easy to see the diversity of his range and even his droll comedic talents with humorous appearances in Biloxi Blues (1988), Wayne's World 2 (1993), Joe Dirt (2001), Mousehunt (1997) and America's Sweethearts (2001). Most recently, he continued to surprise audiences again with his work as a heart broken and apologetic father to Leonardo DiCaprio in Catch Me If You Can (2002).- Actor
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Errol Flynn was born to parents Theodore Flynn, a respected biologist, and Marrelle Young, an adventurous young woman. Young Flynn was a rambunctious child who could be counted on to find trouble. Errol managed to have himself thrown out of every school in which he was enrolled. In his late teens he set out to find gold, but instead found a series of short lived odd jobs. Information is sketchy, however the positions of police constable, sanitation engineer, treasure hunter, sheep castrator, ship-master for hire, fisherman, and soldier seem to be among his more reputable career choices. Staying one jump ahead of the law and jealous husbands forced Flynn to England. He took up acting, a pastime he had previously stumbled into when asked to play (ironically) Fletcher Christian in a film called In the Wake of the Bounty (1933). Flynn's natural athletic talent and good looks attracted the attention of Warner Brothers and soon he was off to America. His luck held when he replaced Robert Donat in the title role of Captain Blood (1935). He quickly rocketed to stardom as the undisputed king of adventure films, a title inherited from Douglas Fairbanks, though which remains his to this day. Onscreen, he was the freedom loving rebel, a man of action who fought against injustice and won the hearts of damsels in the process. His off-screen passions; drinking, fighting, boating and sex, made his film escapades seem pale. His love life brought him considerable fame, three statutory rape trials, and a lasting memorial in the expression "In like Flynn". Serious roles eluded him, and as his lifestyle eroded his youthful good looks, his career declined. Troubles with lawsuits and the IRS plagued him at this time, eroding what little money he had saved. A few good roles did come his way late in life, however, these were usually that of aging alcoholic, almost mirror images of Flynn. Regardless of any perceived similarity; he was making a name as a serious actor before his death.- Actor
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Sami Frey was born on 13 October 1937 in Paris, France. He is an actor and director, known for Band of Outsiders (1964), En compagnie d'Antonin Artaud (1993) and Black Widow (1987).- Actor
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Jack Palance quite often exemplified evil incarnate on film, portraying some of the most intensely feral villains witnessed in 1950s westerns and melodrama. Enhanced by his tall, powerful build, icy voice, and piercing eyes, he earned two "Best Supporting Actor" nominations early in his career. It would take a grizzled, eccentric comic performance 40 years later, however, for him to finally grab the coveted statuette.
Of Ukrainian descent, Palance was born Volodymyr Ivanovich Palahniuk (later taking Walter Jack Palance as his legal name) on February 18, 1919 (although some sources, including his death certificate, cite 1920) in Lattimer Mines, Pennsylvania (coal country), one of six children born to Anna (nee Gramiak) and Ivan Palahniuk. His father, an anthracite miner, died of black lung disease. Palance worked in the mines in his early years but averted the same fate as his father. Athletics was his ticket out of the mines when he won a football scholarship to the University of North Carolina. He subsequently dropped out to try his hand at professional boxing. Fighting under the name "Jack Brazzo", he won his first 15 fights, 12 by knockout, before losing a 4th round decision to future heavyweight contender Joe Baksi on December 17, 1940.
With the outbreak of World War II, his boxing career ended and his military career began, serving in the Army Air Force as a bomber pilot. Wounded in combat and suffering severe injuries and burns, he received the Purple Heart, Good Conduct Medal, and the World War II Victory Medal. He resumed college studies as a journalist at Stanford University and became a sportswriter for the San Francisco Chronicle. He also worked for a radio station until he was bit by the acting bug.
Palance made his stage debut in "The Big Two" in 1947 and immediately followed it understudying Marlon Brando as Stanley Kowalski in the groundbreaking Broadway classic "A Streetcar Named Desire", a role he eventually took over. Following stage parts in "Temporary Island" (1948), "The Vigil" (1948), and "The Silver Tassle" (1949), Palance won a choice role in "Darkness of Noon" and a Theatre World Award for "Promising New Personality." This recognition helped him secure a 20th Century-Fox contract. The facial burns and resulting reconstructive surgery following the crash and burn of his WWII bomber plane actually worked to his advantage. Out of contention as a glossy romantic leading man, Palance instead became the archetypal intimidating villain equipped with towering stance, imposing glare, and killer-shark smile.
He stood out among a powerhouse cast that included actors such as Richard Widmark, Zero Mostel and Paul Douglas in his movie debut in Elia Kazan's Panic in the Streets (1950), as a plague-carrying fugitive. He was soon on his way. Briefly billed as Walter Jack Palance before eliminating the first name, the actor made fine use of his former boxing skills and war experience for the film Halls of Montezuma (1951) as a boxing Marine in Richard Widmark's platoon. He followed this with the first of his back-to-back Oscar nods. In Sudden Fear (1952), only his third film, he played rich-and-famous playwright Joan Crawford's struggling actor/husband who plots to murder her and run off with gorgeous Gloria Grahame. Finding just the right degree of intensity and menace to pretty much steal the proceedings without chewing the scenery, he followed this with arguably his finest villain of the decade, that of sadistic gunslinger Jack Wilson who takes on Alan Ladd's titular hero, played by Shane (1953), in a classic showdown.
Throughout the 1950s, Palance doled out strong leads and supports such as those in Man in the Attic (1953) (his first lead), The Big Knife (1955) and the war classic Attack (1956). Mixed in were a few routine to highly mediocre parts in Flight to Tangier (1953), Sign of the Pagan (1954) (as Attila the Hun), and the biblical bomb The Silver Chalice (1954). In between filmmaking were a host of television roles, none better than his down-and-out boxer in Requiem for a Heavyweight (1956), a rare sympathetic role that earned him an Emmy Award.
Back and forth overseas in the 1960s and 1970s, Palance would dominate foreign pictures in a number of different genres -- sandal-and-spear spectacles, biblical epics, war stories and "spaghetti westerns." Such films included The Battle of Austerlitz (1960), The Mongols (1961), Barabbas (1961), Night Train to Milan (1962), Contempt (1963), The Mercenary (1968), Marquis de Sade's Justine (1969), The Desperados (1969), It Can Be Done Amigo (1972), Chato's Land (1972), Blood and Bullets (1976), Welcome to Blood City (1977). Back home, he played Fidel Castro in Che! (1969) while also appearing in Monte Walsh (1970), Oklahoma Crude (1973) and The Four Deuces (1975).
On the made-for-television front, Jack played a number of nefarious nasties to perfection, ranging from Mr. Hyde (The Strange Case of Dr. Jekyll and Mr. Hyde (1968)) to Dracula in Dracula (1974) to Ebenezer Scrooge in a "Wild West" version of the Dickens classic Ebenezer (1998). He also played one of the Hatfields in The Hatfields and the McCoys (1975). Jack switched gears to star as a "nice guy" lieutenant in the single-season TV cop drama Bronk (1975). In later years, the actor mellowed with age, as exemplified by roles in Bagdad Cafe (1987), but could still display his bad side as he did as an evil rancher, crime boss or drug lord in, respectively, Young Guns (1988), Batman (1989) and Tango & Cash (1989). Into his twilight years he showed a penchant for brash, quirky comedy capped by his Oscar-winning role in City Slickers (1991) and its sequel. He ended his film career playing Long John Silver in Treasure Island (1999).
His three children by his first wife, actress Virginia Baker -- Holly Palance, Brooke Palance, and Cody Palance -- all pursued acting careers and appeared with their father at one time or another. A man of few words off the set, he owned his own cattle ranch and displayed other creative sides as a exhibited painter and published poet.
His last years were marred by both failing health and the 1998 death of his son Cody from melanoma. He was later diagnosed with pancreatic cancer and died at the Santa Barbara County home of his daughter, Holly Palance, in 2006.- Actor
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Alan Bates decided to be an actor at age 11. After grammar school in Derbyshire, he earned a scholarship to the Royal Academy of Dramatic Arts in London. Following two years in the Royal Air Force, he joined the new English Stage Company at the Royal Court Theatre. His West End debut in 1956, at 22, was also the company's first production. In the same year Bates appeared in John Osborne's "Look Back in Anger," a play that gave a name to a generation of postwar "angry young men." It made Bates a star and launched a lifetime of his performing in works written by great modern playwrights -- Harold Pinter, Simon Gray, Storey, Bennett, Peter Shaffer and Tom Stoppard (as well as such classic playwrights as Anton Chekhov, Henrik Ibsen, August Strindberg and William Shakespeare). Four years later Bates appeared in his first film, a classic: The Entertainer (1960), in which he plays one of Laurence Olivier's sons. More than 50 film roles have followed, one of which, The Fixer (1968) (from a novel by Bernard Malamud) earned an Academy Award nomination for Bates. He married Victoria Ward in 1970. Their twin sons, Benedick and Tristan, were born in 1971. Tristan died during an asthma attack in 1990; Ward died in 1992. Bates threw himself into his work to get through these tragedies, and spoke movingly about the effects of his losses in interviews. He was the Patron of the Actors Centre in Covent Garden, London; Bates and his family endowed a theatre there in memory of Tristan Bates, who, like his father and brother, was an actor. With few exceptions, Bates performed in premium works, guided by intuition rather than by box office. For each role he created a three-dimensional, unique person; there is no stereotypical Alan Bates character. Women appreciate the sensitivity he brought to his romantic roles; gay fans appreciate his well-rounded, unstereotyped gay characters; and the intelligence, humor and detail - the smile that started in the eyes, the extra pat or squeeze, the subtle nuances he gave to his lines, his beautiful, flexible voice - are Bates hallmarks that made him special to all his admirers. The rumpled charm of his youth weathered into a softer but still attractive (and still rumpled) maturity. In his 60s Alan Bates continued to divide his time among films, theatre and television. His 1997 stage portrayal of a travel writer facing life's big questions at the bedside of his comatose wife in Simon Gray's "Life Support" was called "a magnificent performance, one of the finest of his career" (Charles Spencer, Sunday Telegraph, 10 August 97). His last two roles in New York earned critical praise and all the Best Actor awards Broadway can bestow. He was knighted in January 2003, and only a few weeks later began treatment for pancreatic cancer. He was positive that he would beat the disease, and continued to work during its course, only admitting to being "a bit tired." His courage and strength were remarkable, and even in his final days his humor remained intact. After his death, there was an outpouring of affection and respect. As Ken Russell said in his Evening Standard tribute, "The airwaves have been heavy with unstinted praise for Alan Bates since his untimely death . . . All the tributes were more than justified for one of the great actors ever to grace the screen and stage."- Actor
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Handsome and elegant George Peppard occasionally displayed considerable talent through his career, whether action roles or dramatic. Following Broadway and television experience, he made a strong film debut in The Strange One (1957). He started getting noticed when he played Robert Mitchum's illegitimate son in the popular melodrama Home from the Hill (1960). He then established himself as a leading man, giving arguably his most memorable film performance as Audrey Hepburn's love interest in Breakfast at Tiffany's (1961). Seen by the studios as a promising young star, Peppard was subsequently cast in some of the major blockbusters of the early/mid-1960s: How the West Was Won (1962), The Victors (1963), The Carpetbaggers (1964) and Operation Crossbow (1965). He reached the peak of his popularity in another such lavish production, The Blue Max (1966), in which he effectively played an obsessively competitive German flying officer during World War I.
However, by the late 1960s, he seemed to settle as a tough lead in more average, often hokum, adventures, including House of Cards (1968), Cannon for Cordoba (1970) and The Groundstar Conspiracy (1972). In the early 1970s, his declining popularity was temporarily boosted thanks to the television series Banacek (1972). With his film roles becoming increasingly uninteresting, he acted in, directed and produced the drama Five Days from Home (1978), but the result was rather disappointing. In the mid-1980s, he again obtained success on television as Colonel John "Hannibal" Smith, the cigar-chomping leader of The A-Team (1983). George Peppard died at age 65 of pneumonia on May 8, 1994 in Los Angeles, California. He is buried alongside his parents in Northview Cemetery in Dearborn, Michigan.- Actor
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On the cast list of The Magnificent Seven (1960), you will find several names that doubtless you know well: Charles Bronson, Steve McQueen, and Yul Brynner. But there is one name that you will have difficulty pronouncing, let alone identifying as an actor you have seen before. That man is Horst Buchholz, and he was one of the few German actors to have a considerable success in both Hollywood and in Europe. One would hardly guess that he was sought out to act in one of the most famous films of all time, only to have to turn it down.
Horst Buchholz was born in Berlin, Germany, in the year 1933. His father was a German shoemaker, while his mother was born to Danish parents. Buccholz was put in a foster home in Czechoslovakia when World War II broke out in Europe, but he returned to Berlin the moment he had the chance. Realizing his talent in acting, Buchholz dropped out of school to perfect his acting skills. After moving from East Berlin to West Berlin, he became well-known for his work in theatre and on the radio. In 1952 he turned to film, and after a series of small roles, he found a larger one in the Julien Duvivier film Marianne of My Youth (1955). He was praised for his role in the romantic/drama film Sky Without Stars (1955) by Helmut Käutner, but it was the lead role in the comedic Confessions of Felix Krull (1957) that made him an established German actor.
He followed this breakthrough role with the romantic film Two Worlds (1958) and the thriller Wet Asphalt (1958), where the handsome young actor plays a former criminal who associates himself with a journalist. Now a familiar face in his country, Buchholz pursued making foreign films. His first non-German film was the British film Tiger Bay (1959). The film is about a girl who witnesses a seaman named Korchinsky (Buchholz) murder his girlfriend. The film won praise in both Germany and Britain, but it was Buchholz' next foreign film that secured his name in the history of classic films. This film was the epic western The Magnificent Seven (1960) directed by John Sturges. Buchholz played Chico, the inexperienced Mexican youth that wants to be a gunman and abandon his past. Buchholz starred alongside such legends as Charles Bronson and Yul Brynner. both of whom had strong European roots. The film was a hit, first in Europe, then was re-distributed in the States to a much higher profit. The film gained massive popularity, and even now is treasured as a classic.
Buchholz could now find good and steady work nationally and internationally, which is something few actors could do at the time. He worked on the romantic film Fanny (1961), which is based on a trilogy of plays written by legendary writer Marcel Pagnol. Buchholz plays the role of Marius, a passionate but unsure youth who must choose between the girl he loves, and the life at sea he has always wanted. The film was a fine success, nominated for five Oscars, including Best Picture and Best Actor for Charles Boyer (who plays Buchholz' onscreen father).
It was at this point in his film career where he was sought as the first choice to play the role of Sherif Ali in David Lean's legendary film Lawrence of Arabia (1962). However, Buchholz had to turn it down, as he had already signed up for another film, which turned out to be the Oscar-nominated comedy One, Two, Three (1961) (directed by Billy Wilder). The film was once again a fine success to add to Buchholz' career, but ultimately gained nowhere near as much of a status as David Lean's film. Buchholz also made the Italian film The Empty Canvas (1963) in which he plays an untalented artist who begins a love affair with a young model. Throughout his in the early 60s, Buchholz had made a name for himself, acting in one Oscar-nominated film after another and showing off his talent as an actor. However, the success he had reached was not to last.
Buchholz continued with film, including the James Bond spoof That Man in Istanbul (1965) and the crime film Johnny Banco (1967). He starred in the B-movie failure that was The Young Rebel (1967). Buchholz rebounded with the fiery film The Saviour (1971) in which he plays a man who claims to be organizing resistance against the Nazis. He also played Johann Strauss in the Golden Globe-nominated musical The Great Waltz (1972). which was sadly another failure.
The rest of the 1970s and the early 1980s were spent mostly on television and movies released for television, whether it be foreign (Dead of Night (1977), Return to Fantasy Island (1978)) or German (Derrick). Buchholz found mild success again when he returned to the big screen with the WW II espionage film Code Name: Emerald (1985) in which he plays alongside such stars as Ed Harris and Max von Sydow. After this film, Buchholz returned to European movies, such as And the Violins Stopped Playing (1988) in which a group of gypsies flee Nazi persecutors. After taking a supporting role in the fantasy film Faraway, So Close! (1993), Buchholz acted in one of his most well known films: the Oscar-winning Italian film Life Is Beautiful (1997) which was directed by and starred Roberto Benigni. Buchholz played the role of a doctor who befriends Benigni's character and frequently duels with him in riddles. This choice of role proved to be an echo of Buchholz' taste in choosing his projects in earlier years; the film won best foreign film that year, and was also nominated for Best Picture. Thanks to his gift for languages, Buchholz was able to dub himself in the foreign releases of the film.
Buchholz continued making films and television appearances until 2002, by which time he was sixty-eight years old. He died the next year, in Berlin, of pneumonia. Berlin had been the city of his heart, and was buried there in honour of that fact. Horst Buchholz had been a renowned German actor, and had gained credibility in the United States and other countries. He was a varied performer, acting all kinds of roles in his life, but was always a proud German to the last.- Actor
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Screen legend, superstar, and the man with the most famous blue eyes in movie history, Paul Leonard Newman was born on January 26, 1925, in Cleveland, Ohio, the second son of Arthur Sigmund Newman (died 1950) and Theresa Fetsko (died 1982). His elder brother was Arthur S. Newman Jr., named for their father, a Jewish businessman who owned a successful sporting goods store and was the son of emigrants from Poland and Hungary. Newman's mother (born Terézia Fecková, daughter of Stefan Fecko and Mária Polenak) was a Roman Catholic Slovak from Homonna, Pticie (former Austro-Hungarian Empire), who became a practicing Christian Scientist. She and her brother, Newman's uncle Joe, had an interest in the creative arts, and it rubbed off on him. He acted in grade school and high school plays. The Newmans were well-to-do and Paul Newman grew up in affluent Shaker Heights. Before he became an actor, Newman ran the family sporting goods store in Cleveland, Ohio.
By 1950, the 25-year-old Newman had been kicked out of Ohio University, where he belonged to the Phi Kappa Tau fraternity, for unruly behavior (denting the college president's car with a beer keg), served three years in the United States Navy during World War II as a radio operator, graduated from Ohio's Kenyon College, married his first wife, Jacqueline "Jackie" Witte (born 1929), and had his first child, Scott. That same year, his father died. When he became successful in later years, Newman said if he had any regrets it would be that his father was not around to witness his success. He brought Jackie back to Shaker Heights and he ran his father's store for a short period. Then, knowing that wasn't the career path he wanted to take, he moved Jackie and Scott to New Haven, Connecticut, where he attended Yale University's School of Drama.
While doing a play there, Newman was spotted by two agents, who invited him to come to New York City to pursue a career as a professional actor. After moving to New York, he acted in guest spots for various television series and in 1953 came a big break. He got the part of understudy of the lead role in the successful Broadway play "Picnic". Through this play, he met actress Joanne Woodward (born 1930), who was also an understudy in the play. While they got on very well and there was a strong attraction, Newman was married and his second child, Susan, was born that year. During this time, Newman was accepted into the much admired and popular New York Actors Studio, although he did not actually audition.
In 1954, a film Newman was very reluctant to do was released, The Silver Chalice (1954). He considered his performance in this costume epic to be so bad that he took out a full-page ad in a trade paper apologizing for it to anyone who might have seen it. He had always been embarrassed about the film and reveled in making fun of it. He immediately wanted to return to the stage, and performed in "The Desperate Hours". In 1956, he got the chance to redeem himself in the film world by portraying boxer Rocky Graziano in Somebody Up There Likes Me (1956), and critics praised his performance. In 1957, with a handful of films to his credit, he was cast in The Long, Hot Summer (1958), co-starring Joanne Woodward.
During the shooting of this film, they realized they were meant to be together and by now, so did his then-wife Jackie, who gave Newman a divorce. He and Woodward wed in Las Vegas in January 1958. They went on to have three daughters together and raised them in Westport, Connecticut. In 1959, Newman received his first Academy Award nomination for Best Actor, in Cat on a Hot Tin Roof (1958). The 1960s would bring Newman into superstar status, as he became one of the most popular actors of the decade, and garnered three more Best Actor Oscar nominations, for The Hustler (1961), Hud (1963) and Cool Hand Luke (1967). In 1968, his debut directorial effort Rachel, Rachel (1968) was given good marks, and although the film and Woodward were nominated for Oscars, Newman was not nominated for Best Director. However, he did win a Golden Globe Award for his direction.
1969 brought the popular screen duo of Newman and Robert Redford together for the first time when Butch Cassidy and the Sundance Kid (1969) was released. It was a box office smash. Through the 1970s, Newman had hits and misses from such popular films as The Sting (1973) and The Towering Inferno (1974) to lesser known films as The Life and Times of Judge Roy Bean (1972) to a cult classic Slap Shot (1977). After the death of his only son, Scott, in 1978, Newman's personal life and film choices moved in a different direction. His acting work in the 1980s and on is what is often most praised by critics today. He became more at ease with himself and it was evident in The Verdict (1982) for which he received his sixth Best Actor Oscar nomination and, in 1987, finally received his first Oscar for The Color of Money (1986), almost thirty years after Woodward had won hers. Friend and director of Somebody Up There Likes Me (1956), Robert Wise accepted the award on Newman's behalf as the actor did not attend the ceremony.
Films were not the only thing on his mind during this period. A passionate race car driver since the early 1970s (despite being color-blind), he was co-founder of Newman-Haas racing in 1982, and also founded "Newman's Own", a successful line of food products that has earned in excess of $100 million, every penny of which Newman donated to charity. He also started The Hole in the Wall Gang Camps, an organization for children with serious illness. He was as well known for his philanthropic ways and highly successful business ventures as he was for his legendary actor status.
Newman's marriage to Woodward lasted a half-century. Connecticut was their primary residence after leaving Hollywood and moving East in 1960. Renowned for his sense of humor, in 1998 he quipped that he was a little embarrassed to see his salad dressing grossing more than his movies. During his later years, he still attended races, was much involved in his charitable organizations, and in 2006, he opened a restaurant called Dressing Room, which helps out the Westport Country Playhouse, a place in which Newman took great pride. In 2007, while the public was largely unaware of the serious illness from which he was suffering, Newman made some headlines when he said he was losing his invention and confidence in his acting abilities and that acting was "pretty much a closed book for me". A smoker for many years, Newman died on September 26, 2008, aged 83, from lung cancer.- Actor
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Malcolm John Taylor was born on June 13, 1943 in Leeds, England, to working-class parents Edna (McDowell), a hotelier, and Charles Taylor, a publican. His father was an alcoholic. Malcolm hated his parents' ways. His father was keen to send his son to private school to give him a good start in life, so Malcolm was packed off to boarding school at age 11. He attended the Tonbridge School and the Cannock House School in Eltham, Kent. At school, he was beaten with the slipper or cane every Monday for his wayward behavior. Whilst at school, he decided that he wanted to become an actor; it was also around this time that his love for race cars began. He attended the London Academy of Music and Dramatic Arts (LAMDA) to study acting. Meanwhile, he worked at his parents' pub but lost his job when the pub went bankrupt, his father drinking all the profits. He then had a variety of jobs, from coffee salesman to messenger.
His first big-screen role was in Poor Cow (1967), although his two-minute scene was ultimately cut from the completed film. Soon after, he caught the attention of director Lindsay Anderson who cast him in the role of a rebellious student in his film If.... (1968). The film catapulted Malcolm to stardom in Britain but failed everywhere else. He was so enthusiastic about the film's success that he wanted to do another right away. He began writing what would become the semi-autobiographical O Lucky Man! (1973). Then he starred as Alex DeLarge in Stanley Kubrick's controversial A Clockwork Orange (1971), a role that gave him world fame, and legendary status (although typecasting him as a in villainous roles). In early 1976, he spent nearly a year working on what would later be one of the most infamous films of all time, the semi-pornographic Caligula (1979), financed by Penthouse magazine founder Bob Guccione. Around that time, the British film industry collapsed, forcing him to flee to America to continue working. His first American film was Time After Time (1979). He then did Britannia Hospital (1982), the last part of Lindsay Anderson's working-class trilogy that started with If.... (1968).
In the mid-1980s, the years of alcohol and drug abuse, including $1000 a week on cocaine, caught up with him. Years of abuse took its toll on him; his black hairs were now gray. Looking older than he really was, nobody wanted to cast him for playing younger roles. The big roles having dried up, he did many B-rated movies. The 1990s were kinder to him, though. In 1994, he was cast as Dr. Tolian Soran, the man who killed Captain James T. Kirk in Star Trek: Generations (1994). He was back on the track, playing villains again. He played another in the classic BBC miniseries Our Friends in the North (1996). Today, with more than 100 films under his belt, he is one of the greatest actors in America. He still does not have American citizenship, but he likes the no-nonsense American ways. He resides in the northern suburbs of Los Angeles, California.- Actor
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Tony Curtis was born Bernard Schwartz, the eldest of three children of Helen (Klein) and Emanuel Schwartz, Jewish immigrants from Hungary. Curtis himself admits that while he had almost no formal education, he was a student of the "school of hard knocks" and learned from a young age that the only person who ever had his back was himself, so he learned how to take care of both himself and younger brother, Julius. Curtis grew up in poverty, as his father, Emanuel, who worked as a tailor, had the sole responsibility of providing for his entire family on his meager income. This led to constant bickering between Curtis's parents over money, and Curtis began to go to movies as a way of briefly escaping the constant worries of poverty and other family problems. The financial strain of raising two children on a meager income became so tough that in 1935, Curtis's parents decided that their children would have a better life under the care of the state and briefly had Tony and his brother admitted to an orphanage. During this lonely time, the only companion Curtis had was his brother, Julius, and the two became inseparable as they struggled to get used to this new way of life. Weeks later, Curtis's parents came back to reclaim custody of Tony and his brother, but by then Curtis had learned one of life's toughest lessons: the only person you can count on is yourself.
In 1938, shortly before Tony's Bar Mitzvah, tragedy struck when Tony lost the person most important to him when his brother, Julius, was hit by a truck and killed. After that tragedy, Curtis's parents became convinced that a formal education was the best way Tony could avoid the same never-knowing-where-your-next-meal-is-coming-from life that they had known. However, Tony rejected this because he felt that learning about literary classics and algebra wasn't going to advance him in life as much as some real hands-on life experience would. He was to find that real-life experience a few years later, when he enlisted in the navy in 1942. Tony spent over two years getting that life experience doing everything from working as a crewman on a submarine tender, the USS Proteus (AS-19), to honing his future craft as an actor performing as a sailor in a stage play at the Navy Signalman School in Illinois.
In 1945, Curtis was honorably discharged from the navy, and when he realized that the GI Bill would allow him to go to acting school without paying for it, he now saw that his lifelong pipe dream of being an actor might actually be achievable. Curtis auditioned for the New York Dramatic Workshop, and after being accepted on the strength of his audition piece (a scene from "Dr. Jekyll and Mr. Hyde" in pantomime), Curtis enrolled in early 1947. He then began to pay his dues by appearing in a slew of stage productions, including "Twelfth Night" and "Golden Boy". He then connected with a small theatrical agent named Joyce Selznick, who was the niece of film producer David O. Selznick. After seeing his potential, Selznick arranged an interview for Curtis to see David O. Selznick at Universal Studios, where Curtis was offered a seven-year contract. After changing his name to what he saw as an elegant, mysterious moniker--"Tony Curtis" (named after the novel Anthony Adverse (1936) by Hervey Allen and a cousin of his named Janush Kertiz)--Curtis began making a name for himself by appearing in small, offbeat roles in small-budget productions. His first notable performance was a two-minute role in Criss Cross (1949), with Burt Lancaster, in which he makes Lancaster jealous by dancing with Yvonne De Carlo. This offbeat role resulted in Curtis's being typecast as a heavy for the next few years, such as playing a gang member in City Across the River (1949).
Curtis continued to build up a show reel by accepting any paying job, acting in a number of bit-part roles for the next few years. It wasn't until late 1949 that he finally got the chance to demonstrate his acting flair, when he was cast in an important role in an action western, Sierra (1950). On the strength of his performance in that movie, Curtis was finally cast in a big-budget movie, Winchester '73 (1950). While he appears in that movie only very briefly, it was a chance for him to act alongside a Hollywood legend, James Stewart.
As his career developed, Curtis wanted to act in movies that had social relevance, ones that would challenge audiences, so he began to appear in such movies as Spartacus (1960) and The Defiant Ones (1958). He was advised against appearing as the subordinate sidekick in Spartacus (1960), playing second fiddle to the equally famous Kirk Douglas. However, Curtis saw no problem with this because the two had recently acted together in dual leading roles in The Vikings (1958).- Actor
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Tony Lo Bianco has appeared in numerous films, television programs, and stage performances, both on-screen and off as a writer, director, and producer. Onstage, he won an Obie Award for Best Actor in Jonathan Reynolds's "Yanks-3, Detroit-0, Top of the 7th". Following his memorable performance as Eddie Carbone in Arthur Miller's A View from the Bridge on Broadway, he was nominated for the Tony Award for Best Actor, and won the Outer Critics Circle Award. He also won a New York Area Television Academy Award and daytime Emmy for Hizzoner! (1984).
A Brooklyn-born New Yorker, Lo Bianco's best-known film performance was as Sal Boca in the iconic Academy Award-winning film, The French Connection (1971). He also starred in the cult classic The Honeymoon Killers (1970); in The Seven-Ups (1973) (with Roy Scheider); in Bloodbrothers (1978) (with Richard Gere and Paul Sorvino); in City Heat (1984) (with Clint Eastwood and Burt Reynolds); in Nixon (1995) (starring Anthony Hopkins in the title role); in The Juror (1996) (starring Alec Baldwin and Demi Moore); in F.I.S.T. (1978) (starring Sylvester Stallone and Rod Steiger); in Boiling Point (1993) (starring Wesley Snipes and Dennis Hopper); in God Told Me To (1976); in Kill the Irishman (2011) (starring Val Kilmer and Vincent D'Onofrio); in the Italian miniseries La romana (1988) (with screen legend Gina Lollobrigida), and in both 79 Parts (2016)and 79 Parts: Director's Cut (2019) (playing the same character). Lo Bianco has appeared in more than 100 films to date.
On television, Lo Bianco starred as Rocky Marciano, the only undefeated heavyweight champ of the world, in Marciano (1979). He appeared in the mini-series/made-for-television movies Alle origini della mafia (1976), Marco Polo (1982), Jesus of Nazareth (1977), The Last Tenant (1978) (opposite Lee Strasberg) and Another Woman's Child (1983) (starring Linda Lavin). Later television roles have included several episodes of Police Story (1973), Law & Order (1990), and Homicide: Life on the Street (1993) (all NBC police procedurals), playing different roles and characters. He starred opposite Lindsay Wagner in the series Jessie (1984). Lo Bianco directing credits include Police Story (1973), The Secret Empire (1979), Kaz (1978), and the feature film, Too Scared to Scream (1984).
In 1963, he co-founded the Triangle Theater and served as artistic director for six years, during which time lighting designer Jules Fisher, playwright Jason Miller and actor Roy Scheider passed through its doors. Lo Bianco himself directed eight productions and produced twenty-five others. He is a member of the Italian American National Hall of Fame and served as the National Spokesperson for the Order Sons of Italy.
He has received the following awards and honors: Eleanora Duse Award for Outstanding Contribution to the Performing Arts; Man of the Year for Outstanding Contributions to the Italian-American Community from the Police Society of New Jersey; Man of the Year Award from the State of New Jersey Senate; Lifetime Entertainment Award from the Columbus Day Parade Committee; Golden Lion Award (1997); the Humanitarian Award of the Boys' Town of Italy and the Ellis Island Medal of Honor.- Actor
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Robert Forster was born Robert Wallace Foster, Jr. in Rochester, New York, to Grace Dorothy (Montanarella) and Robert Wallace Foster, Sr., who worked as an elephant trainer and baking supply company executive. He was of English, Irish, and Italian descent. Forster first became interested in acting while attending Rochester's Madison High School, where he performed as a song-and-dance man in musical revues. After graduating in 1959, Forster attended Heidelberg College, Alfred University and the University of Rochester on football scholarships and continued to perform in student theatrical revues.
After earning a BA in Psychology from Rochester in 1963, Forster took an apprenticeship at an East Rochester theater where he performed in such plays as "West Side Story". He moved to New York City in 1965, where his first big break came when he landed the lead in the two-character play "Mrs. Dally Has a Lover", opposite Arlene Francis. However, after the play ran its course work was hard to find in the theater. Forster returned to Rochester, where he worked as a substitute teacher and construction worker until an agent from 20th Century-Fox offered him a five-picture deal. His movie debut was a small part in the drama Reflections in a Golden Eye (1967), which starred Elizabeth Taylor and Marlon Brando. Forster went on to appear in small and minor roles alongside some top Hollywood actors in films like The Stalking Moon (1968) and Medium Cool (1969), and a large part in Justine (1969). Although he continued to act in feature films, he took the part of a hard-boiled detective in the short-lived TV series Banyon (1971).
Forster also appeared in notable parts in The Black Hole (1979), Avalanche (1978) and as the lead in the cult horror flick Alligator (1980), and played the part of a factory worker-turned-vigilante in the thriller Vigilante (1982). Forster also took the lead as a taxi driver in Walking the Edge (1985) by director Norbert Meisel. A series of action flicks followed, the most notable being The Delta Force (1986), starring Chuck Norris. By the late 1980s Forster's acting career had begun to slide, and he was getting less and less work; if there was any, he would be cast in small parts playing villains. Forster then began to work as a motivational speaker and an acting coach in Hollywood film schools.
However, in the mid-1990s, his career was resurrected by writer-director Quentin Tarantino, a big fan of Forster's early work, who offered him an audition for a part in his latest movie. After a seven-hour audition, Tarantino cast Forster as the tough but sympathetic bail bondsman Max Cherry in Jackie Brown (1997), which netted him an Academy Award nomination and a measure of recognition, both nationwide and within his own profession, landing him more high-profile roles in such films as All the Rage (1999), Gus Van Sant's Psycho (1998)--a remake of Alfred Hitchcock's 1960 film--and Supernova (2000). Forster continued to act in many big-budget Hollywood productions for the next two decades.
Forster died on October 11, 2019, in Los Angeles, California, aged 78. His last film, El Camino: A Breaking Bad Movie (2019), was released on the day of his death. He is survived by four children (Bobby, Elizabeth, Kate and Maeghen), four grandchildren (Tess, Liam, Jack and Olivia), and his long-time partner, Denise Grayson. Denise has been Robert's long-time partner and they had been together for 16 years till Robert passed away at home in Los Angeles surrounded by family.- Actor
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Multi-talented and unconventional actor/director regarded by many as one of the true "enfant terribles" of Hollywood who led an amazing cinematic career for more than five decades, Dennis Hopper was born on May 17, 1936, in Dodge City, Kansas. The young Hopper expressed interest in acting from a young age and first appeared in a slew of 1950s television shows, including Medic (1954), Cheyenne (1955) and Sugarfoot (1957). His first film role was in Rebel Without a Cause (1955), quickly followed by Giant (1956) and Gunfight at the O.K. Corral (1957). Hopper actually became good friends with James Dean and was shattered when Dean was killed in a car crash in September 1955.
Hopper portrayed a young Napoléon Bonaparte (!) in the star-spangled The Story of Mankind (1957) and regularly appeared on screen throughout the 1960s, often in rather undemanding parts, usually as a villain in westerns such as True Grit (1969) and Hang 'Em High (1968). However, in early 1969, Hopper, fellow actor Peter Fonda and writer Terry Southern, wrote a counterculture road movie script and managed to scrape together $400,000 in financial backing. Hopper directed the low-budget film, titled Easy Rider (1969), starring Fonda, Hopper and a young Jack Nicholson. The film was a phenomenal box-office success, appealing to the anti-establishment youth culture of the times. It changed the Hollywood landscape almost overnight and major studios all jumped onto the anti-establishment bandwagon, pumping out low-budget films about rebellious hippies, bikers, draft dodgers and pot smokers. However, Hopper's next directorial effort, The Last Movie (1971), was a critical and financial failure, and he has admitted that during the 1970s he was seriously abusing various substances, both legal and illegal, which led to a downturn in the quality of his work. He appeared in a sparse collection of European-produced films over the next eight years, before cropping up in a memorable performance as a pot-smoking photographer alongside Marlon Brando and Martin Sheen in Francis Ford Coppola's Vietnam War epic Apocalypse Now (1979). He also received acclaim for his work in both acting and direction for Out of the Blue (1980).
With these two notable efforts, the beginning of the 1980s saw a renaissance of interest by Hollywood in the talents of Dennis Hopper and exorcising the demons of drugs and alcohol via a rehabilitation program meant a return to invigorating and provoking performances. He was superb in Rumble Fish (1983), co-starred in the tepid spy thriller The Osterman Weekend (1983), played a groovy school teacher in My Science Project (1985), was a despicable and deranged drug dealer in River's Edge (1986) and, most memorably, electrified audiences as foul-mouthed Frank Booth in the eerie and erotic David Lynch film Blue Velvet (1986). Interestingly, the offbeat Hopper was selected in the early 1980s to provide the voice of "The StoryTeller" in the animated series of "Rabbit Ears" children's films based upon the works of Hans Christian Andersen!
Hopper returned to film direction in the late 1980s and was at the helm of the controversial gang film Colors (1988), which was well received by both critics and audiences. He was back in front of the cameras for roles in Super Mario Bros. (1993), got on the wrong side of gangster Christopher Walken in True Romance (1993), led police officer Keanu Reeves and bus passenger Sandra Bullock on a deadly ride in Speed (1994) and challenged gill-man Kevin Costner for world supremacy in Waterworld (1995). The enigmatic Hopper continued to remain busy through the 1990s and into the new century with performances in All the Way (2003), The Keeper (2004) and Land of the Dead (2005).
As well as his acting/directing talents, Hopper was a skilled photographer and painter, having had his works displayed in galleries in both the United States and overseas. He was additionally a dedicated and knowledgeable collector of modern art and had one of the most extensive collections in the United States. Dennis died of prostate cancer on May 29, 2010, less than two weeks after his 74th birthday.- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.- Actor
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Alain Fabien Maurice Marcel Delon was born in Sceaux, Hauts-de-Seine, France, to Édith (Arnold) and Fabien Delon. His father was of French and Corsican Italian descent, and his mother was of French and German ancestry. His parents divorced early on, and Delon had a stormy childhood, being frequently expelled from school.
In 1953/1954 he served with the French Marines in Indochina. In the mid-'50s he worked at various odd jobs including waiter, salesman and porter in Les Halles market. He decided to try an acting career and in 1957 made his film debut in Yves Allégret's Quand la femme s'en mêle (1957). He declined an offer of a contract from producer David O. Selznick, and in 1960 he received international recognition for his role in Luchino Visconti's Rocco and His Brothers (1960). In 1961 he appeared on the stage in "'Tis a Pity She's a Whore", directed by Visconti, in Paris. In 1964 he formed his own production company, Delbeau Productions, and he produced a short film directed by Guy Gilles. In 1968 he found himself involved in murder, drug and sex scandal that indirectly implicated major politicians and show-business personalities, but he was eventually cleared of all charges. In the late 1960s he formed another company. Adel Film, and the next year he began producing features. In 1981 he directed his first film, To Kill a Cop (1981).
Delon was a sensation early in his career; he came to embody the young, energetic, often morally corrupted man. With his breathtaking good looks he was also destined to play tender lovers and romantic heroes, and he was a French embodiment of the type created in America by James Dean. His first outstanding success came with the role of the parasite Tom Ripley in 'Rene Clement''s sun-drenched thriller Purple Noon (1960). Delon presented a psychological portrait of a murderous young cynic who attempts to take on the identity of his victim. A totally different role was offered to him by Visconti in Rocco and His Brothers (1960). In this film Delon plays the devoted Rocco, who accepts the greatest sacrifices to save his shiftless brother Simon.
After several other films in Italy, Delon returned to the criminal genre with Jean Gabin in Any Number Can Win (1963). This work, a classic example of the genre, was distinguished not only by a soundly worked-out screenplay, but also by the careful production and the excellent performances of both Delon and Gabin. It was only in the late 1960s that the sleek and lethal Delon came to epitomize the calm, psychopathic hoodlum, staring into the camera like a cat assessing a mouse. His tough, ruthless side was first used to real effect by Jean-Pierre Melville in The Samurai (1967). In 1970 he had a huge success in the bloodstained Borsalino (1970)--which he also produced--playing a small-time gangster in the 1930s who, with Jean-Paul Belmondo, becomes king of the Marseilles underworld. Delon later won critical acclaim for his roles, against type, in Joseph Losey's Mr. Klein (1976) in which he played (brilliantly) the icily sinister title role, and the art-movie Swann in Love (1984). He has an older son Anthony Delon (who has also acted in a number of movies) from his first marriage to Nathalie Delon, and has a young son and daughter, Alain-Fabien and Anouchka with Rosalie.- Actor
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Jeffrey Hunter was born Henry Herman McKinnies Jr. on November 25, 1926 in New Orleans, Louisiana, an only child. His parents met at the University of Arkansas, and when he was almost four his family moved to Milwaukee, Wisconsin. In his teens, he acted in productions of the North Shore Children's Theater and, from 1942 to 1944, performed in summer stock with the local Port Players, along with Eileen Heckart, Charlotte Rae and Morton DaCosta. Hunter was also a radio actor at WTMJ, getting his first professional paycheck in 1945 for the wartime series "Those Who Serve." After graduation from Whitefish Bay High School, where he was co-captain of the football team, he enlisted in the United States Navy and underwent training at Great Lakes Naval Station, Illinois, in 1945-1946, but on the eve of his shipping out for active duty in Japan he took ill and received a medical discharge from the service.
Hunter attended and graduated from Northwestern University with a bachelor's degree in 1949, where he acquired more stage experience in Sheridan's "The Rivals" and Ruth Gordon's "Years Ago". He also did summer stock with Northwestern students at Eagles Mere, Pennsylvania in 1948, worked on two Northwestern Radio Playshop broadcasts, was president of Phi Delta Theta Fraternity, and was active in the campus film society with David Bradley, later acting in director David Bradley's production of Julius Caesar (1950) in 1949. He then attended graduate school at the University of California at Los Angeles, where he studied radio and drama. He was in the cast of a UCLA production of Arthur Miller's "All My Sons" in May, 1950; on opening night, the good-looking Hunter drew the attention of talent scouts from Paramount and 20th Century-Fox Studios.
Hunter made a screen test with Ed Begley in a scene from "All My Sons" at Paramount (where he met Barbara Rush, his future wife), but after an executive shake-up at that studio derailed his hiring, he was signed by 20th Century Fox (where he remained under contract until 1959) and within a month was sent on location in New York for Fourteen Hours (1951). Hunter was kept fairly busy in pictures, working his way from featured roles to starring roles to first-billing within two years in Sailor of the King (1953). His big break came with John Ford's classic, The Searchers (1956), where he played the young cowboy who accompanies John Wayne on his epic search for a child kidnapped by Comanches. Hunter got excellent reviews for his performance in this film and justifiably so, as he held his own well with the veteran Wayne.
Starring roles in two more John Ford movies followed, and in 1960, Hunter had one of his best roles in Hell to Eternity (1960), the true story of World War II hero Guy Gabaldon. That same year, Hunter landed the role for which he is probably best known (although it's far from his best work), when he played Jesus in producer Samuel Bronston's King of Kings (1961), which due to Hunter's still youthful looks at 33, was dubbed by irreverent Hollywood wags "I Was a Teenage Jesus." After the cancellation of his Western series Temple Houston (1963), and his decision not to continue in the lead role of the current series Star Trek (1966), his career took a downturn, and Hunter eventually wound up in Europe working on cheap Westerns, at the time a sure sign of a career in trouble.
While in Spain in November 1968 to film Cry Chicago (¡Viva América!), a story about the Chicago Mafia, Hunter was injured in an on-set explosion when a car window near him, which had been rigged to explode outward, accidentally exploded inward. Hunter sustained a serious concussion. According to Hunter's wife Emily, he "went into shock" on the flight back to the United States after filming and "couldn't speak. He could hardly move." After landing, Hunter was taken to Good Samaritan Hospital in Los Angeles, but doctors could not find any serious injuries except for a displaced vertebra and a concussion.
On the afternoon of May 26, 1969, Hunter suffered an intracranial hemorrhage while walking down a three-stair set of steps at his home in Van Nuys, California. He fell, knocked over a planter, and struck his head on the banister, fracturing his skull. He was found unconscious by Frank Bellow, an actor and a friend of Hunter's, who came for a visit, and taken to Valley Presbyterian Hospital, where he underwent brain surgery. He died at about 9:30 the following morning at the age of 42.- Scott Marlowe was an American film, stage and television actor.
His first feature film role was in the 1954 production of Attila. Two years later, he starred as John Goodwin in an episode "In Summer Promise" on General Electric Theater. In 1957 he appeared as Private Meredith in the war movie Men in War. He appeared as Jimmy Budd, along with Ronald Reagan and his wife Nancy Davis, in the episode "The Long Shadow" in Dick Powell's Zane Grey Theater directed by Budd Boetticher.
Marlowe often took film roles of dysfunctional juveniles in a series of films made during the 1950s and 1960s, including The Scarlet Hour (1956), The Restless Breed (1957), The Cool and the Crazy (1958), Riot in Juvenile Prison (1959), The Subterraneans (1960), and A Cold Wind in August (1961). Marlowe appeared four times between 1963 and 1966 on James Arness's CBS western Gunsmoke. In 1964, Marlowe appeared as Lee Hewitt in the episode "The Roper" on the NBC western, Bonanza. In 1970, he guest starred as Billy Kells in the episode "The Experiment" on CBS's Lancer series.
Marlowe also appeared on stage. His most highly acclaimed such performance was at the Chicago Civic Theatre in a production of Arthur Miller's Death of a Salesman. He was a founding member of Theatre West in Los Angeles. - Actor
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Harrison Ford was born on July 13, 1942 in Chicago, Illinois, to Dorothy (Nidelman), a radio actress, and Christopher Ford (born John William Ford), an actor turned advertising executive. His father was of Irish and German ancestry, while his maternal grandparents were Jewish emigrants from Minsk, Belarus. Harrison was a lackluster student at Maine Township High School East in Park Ridge Illinois (no athletic star, never above a C average). After dropping out of Ripon College in Wisconsin, where he did some acting and later summer stock, he signed a Hollywood contract with Columbia and later Universal. His roles in movies and television (Ironside (1967), The Virginian (1962)) remained secondary and, discouraged, he turned to a career in professional carpentry. He came back big four years later, however, as Bob Falfa in American Graffiti (1973). Four years after that, he hit colossal with the role of Han Solo in Star Wars: Episode IV - A New Hope (1977). Another four years and Ford was Indiana Jones in Raiders of the Lost Ark (1981).
Four years later and he received Academy Award and Golden Globe nominations for his role as John Book in Witness (1985). All he managed four years after that was his third starring success as Indiana Jones; in fact, many of his earlier successful roles led to sequels as did his more recent portrayal of Jack Ryan in Patriot Games (1992). Another Golden Globe nomination came his way for the part of Dr. Richard Kimble in The Fugitive (1993). He is clearly a well-established Hollywood superstar. He also maintains an 800-acre ranch in Jackson Hole, Wyoming.
Ford is a private pilot of both fixed-wing aircraft and helicopters, and owns an 800-acre (3.2 km2) ranch in Jackson, Wyoming, approximately half of which he has donated as a nature reserve. On several occasions, Ford has personally provided emergency helicopter services at the request of local authorities, in one instance rescuing a hiker overcome by dehydration. Ford began flight training in the 1960s at Wild Rose Idlewild Airport in Wild Rose, Wisconsin, flying in a Piper PA-22 Tri-Pacer, but at $15 an hour, he could not afford to continue the training. In the mid-1990s, he bought a used Gulfstream II and asked one of his pilots, Terry Bender, to give him flying lessons. They started flying a Cessna 182 out of Jackson, Wyoming, later switching to Teterboro, New Jersey, flying a Cessna 206, the aircraft he soloed in. Ford is an honorary board member of the humanitarian aviation organization Wings of Hope.
On March 5, 2015, Ford's plane, believed to be a Ryan PT-22 Recruit, made an emergency landing on the Penmar Golf Course in Venice, California. Ford had radioed in to report that the plane had suffered engine failure. He was taken to Ronald Reagan UCLA Medical Center, where he was reported to be in fair to moderate condition. Ford suffered a broken pelvis and broken ankle during the accident, as well as other injuries.- Producer
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Born on August 18, 1936, in Santa Monica, California, to Charles Robert Redford, an accountant for Standard Oil, and Martha Redford, Charles Robert Redford, Jr. was a scrappy kid who stole hubcaps in high school and lost his college baseball scholarship at the University of Colorado because of drunkenness. However, as a high school student, he had displayed a certain aptitude as a caricaturist and this contributed to his decision to seriously study art. Redford then enjoyed a year-long sojourn travelling around Europe, hitchhiking, living in youth hostels and generally living the painter's life. Eventually, he came to realise that his work was unoriginal and not very good. He therefore returned to New York to pursue studies in theatrical design at the Pratt Institute of Art. He subsequently enrolled in acting classes at the American Academy of Dramatic Arts.
By the end of 1960, he was on Broadway in a series of plays including Barefoot in the Park, which launched him to fame. TV and stage experience coupled with all-American good looks led to movies and a breakthrough role in Butch Cassidy and the Sundance Kid (1969), when the actor was 33. The Way We Were (1973) and The Sting (1973), both in 1973, made Redford No. 1 at the box office for the next three years. Redford used his clout to advance environmental causes and his riches to acquire Utah property, which he transformed into a ranch and the Sundance ski resort. In 1980, he established the Sundance Institute for aspiring filmmakers. Its annual film festival has become one of the world's most influential. Redford's directorial debut, Ordinary People (1980), won him the Academy Award for Best Director in 1981. He waited eight years before getting behind the camera again, this time for the screen version of John Nichols' acclaimed novel of the Southwest, The Milagro Beanfield War (1988). He scored with critics and fans in 1992 with the Brad Pitt film A River Runs Through It (1992), and again, in 1994, with Quiz Show (1994), which earned him yet another Best Director nomination.
Redford married Lola Van Wagenen on August 9, 1958; they divorced in 1985 after having four children, one of which died of sudden infant death syndrome. Daughter Shauna Redford, born November 15, 1960, is a painter who married Eric Schlosser on October 5, 1985, in Provo, Utah; her first child, born in January 1991, made Redford a grandfather. Son James Redford, a screenwriter, was born May 5, 1962. Daughter Amy Redford, an actress, was born October 22, 1970. Redford has a half-brother named William, who worked in medical research.- Actor
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Burly American character actor Ralph Meeker first acted on stage at his alma mater, Northwestern University, alongside other budding performers Charlton Heston and Patricia Neal. He graduated as a music major because his dean had discouraged him from pursuing a theatrical career. Ignoring that advice, Meeker nevertheless moved to New York to study method acting and performing in local stock companies. After being injured during a brief wartime stint with the navy and consequently discharged from active duty, Meeker went overseas to play his part in entertaining the troops as a member of the USO. He finally arrived on Broadway in 1945 and was given small roles in two plays produced by José Ferrer, making his stage debut in "Strange Fruit". He was still relatively unknown in 1947 when he replaced Marlon Brando as Stanley Kowalski in "A Streetcar Named Desire" two years later, in the process giving a commanding and critically acclaimed performance. After playing Kowalski in the touring company of 'Streetcar', Meeker was again critically acclaimed for his part in the original production of "Mister Roberts" . As a result, he had several European motion picture offers and elected to play the role of an army sergeant in Teresa (1951), co-starring Pier Angeli. That same year, he was in another continental drama shot on location in Switzerland, entitled Four in a Jeep (1951). After a two-year sojourn at MGM, Meeker returned to Broadway to star as the swaggering, likable, larger-than-life rogue Hal Carter in William Inge's play "Picnic" on Broadway. His performance not only was highly praised by reviewers like Brooks Atkinson but also won him the New York Critics Circle Award. In later years, Meeker claimed to have spurned Columbia's offer of reprising his role on screen because he disdained being shackled by a studio contract. In any case, the prize role went to William Holden, and Meeker ended up being consigned for the next thirty years to provide support (with the odd exception) as hard- nosed guys on either side of the law (or bullies with a yellow streak). He did, nonetheless, leave his mark with several top-notch performances.
One of his best early screen roles was that of the disgraced ex-Union officer Roy Anderson in Anthony Mann's brilliant revenge western The Naked Spur (1953). As one of four men stripped of humanity by greed and hatred (the others were James Stewart, Robert Ryan and Millard Mitchell), Ralph Meeker gave a convincing portrayal of a cynical and callous opportunist.
Meeker's defining role was that of Mike Hammer in Kiss Me Deadly (1955). The film was unusual in that Hammer was played -- unlike the gumshoes of previous films noir -- as a basically unsavoury character. His was one of the first antiheroes who began to appear in films of the 1960s. Under the direction of Robert Aldrich, Meeker's characterisation as Mike Hammer effectively contrasted a smooth, handsome facade with an undercurrent of arrogance, unmitigated ruthlessness and greed. After the film was released, it ran into censorship trouble, the Kefauver Commission labelling it the Number One Menace to American Youth for 1955. While "Kiss Me Deadly" acquired a cult following over the years, it certainly failed to advance the career of Ralph Meeker.
He did, however, manage to get second billing for the part of Corporal Paris, one of three World War I French infantry men randomly selected for execution (because their regiment had refused a suicidal mission) in Stanley Kubrick's harrowing anti-war drama Paths of Glory (1957). He gave another finely etched performance through his character's gradual deterioration from swaggering bravado to abject fear. Also that year, Meeker played a snarling, Indian-hating Yankee officer in Run of the Arrow (1957) and co-starred as Jane Russell's unlikely kidnapper in the failed Norman Taurog comedy The Fuzzy Pink Nightgown (1957).
In between numerous television appearances during the '60s, Meeker returned to the stage as member of the Lincoln Centre Repertory Theatre, where he was reunited with Elia Kazan (who had directed him in 'Streetcar') to act in Arthur Miller's play "After the Fall" (1964-65). He also worked with Robert Aldrich again in "The Dirty Dozen" and that same year with Roger Corman playing George 'Bugs' Moran (who Meeker allegedly resembled), the Chicago mobster whose gang was famously 'rubbed out' by Al Capone in The St. Valentine's Day Massacre (1967).
After the decline of the studio system, Meeker found much gainful employment in television and even had his own syndicated series, Not for Hire (1959), playing a tough Honolulu investigator. However, the show came up against the similarly themed Hawaiian Eye (1959) and only ran to 39 episodes. Meeker then guest-starred on numerous other shows and had noteworthy roles as, among others, a boorish tycoon who discovers a prehistoric amphibious creature in The Outer Limits (1963) episode "The Tourist Attraction", an ex-cop turned derelict in Ironside (1967) ('Price Tag: Death Details'), and FBI agent Bernie Jenks in the TV pilot of The Night Stalker (1972). Add to that a gallery of snarling or harassed law enforcers from The Girl on the Late, Late Show (1974) to Brannigan (1975) and episodes of Harry O (1973), The Rookies (1972) and Police Story (1973). Ralph Meeker remained a much-in-demand character actor until his death of a heart attack in August 1988.