Top Ten Contributors - Dark Passage (1947)
One of my favorite Humphrey Bogart's film noir movies. It has an excellent cast and very good storytelling background. Here are my top 10 contributors that brought this classic to the screen.
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- David Goodis was born on 2 March 1917 in Philadelphia, Pennsylvania, USA. He was a writer, known for The Edge (1989), Nightfall (1956) and Street of No Return (1989). He was married to Elaine Astor and Grayson Hall. He died on 7 January 1967.
- Writer
- Director
- Actor
Although Delmer Daves obtained a law degree at Stanford University, he never had the opportunity to use it; while still in college, he obtained a job as a prop boy on The Covered Wagon (1923) and after graduation was hired by several film companies as a technical advisor on films with a college background. Soon afterward he entered films as an actor, and after appearing in several pictures he began collaborating on screenplays and original stories. He wrote scripts for many of Hollywood's best films of the 1930s and 1940s, including The Petrified Forest (1936), Love Affair (1939) and You Were Never Lovelier (1942). Turning director with the classic Destination Tokyo (1943), Daves often wrote and produced his own pictures. Of the many films he made, the westerns he did were especially close to his heart--as a youth he had spent much time living on reservations with Hopi and Navajo Indians.credited with directorial credit- Cinematographer
- Camera and Electrical Department
- Actor
Hickox started out as assistant cameraman at the Manhattan Biograph Studios in 1915, followed by two years of wartime photographic work with the U.S. Naval Air Service. He joined First National after 1919, graduating to director of photography by 1927. When Warner Brothers absorbed that company in 1930, he stayed the course for the bulk of his career (until 1954), then worked primarily in television until his retirement in 1971.
Hickox was best known as an action photographer, who excelled shooting the gritty, moody crime films and melodramas, in which Warners tended to corner the market. He collaborated particularly well with another action specialist, the director Raoul Walsh. Hickox had the uncanny ability to make productions, shot on a modest budget, look a lot classier. His best films cover the period from 1942 to 1954. They include the boxing drama Gentleman Jim (1942); the films noir To Have and Have Not (1944), The Big Sleep (1946), Dark Passage (1947) and White Heat (1949); and, finally, the sci-fi cult classic Them! (1954).man behind the camera- Music Department
- Composer
- Actor
Franz Waxman (Wachsmann) pursued his dream of a career in music despite his family's misgivings. He worked for several years as a bank teller and paid for piano, harmony and composition lessons with his salary. He later moved to Berlin, where he continued his study and progress as a musician. He was able to support himself by playing and arranging for a popular German jazz band, Weintraub Syncopaters, in the late 1920s. Friedrich Hollaender, who had written some music for the Weintraubs, gave Waxman his first chance to move into movie scoring by hiring him to orchestrate and conduct Hollander's score (an arrangement of Wolfgang Amadeus Mozart) for the film that launched Marlene Dietrich, The Blue Angel (1930), directed by Josef von Sternberg. During 1932 Waxman, a Jew, joined many other Jews leaving Germany as the Nazi vise closed irrevocably on free society. He continued working with Germanfilm makers in France. Waxman did musical arranging and co-scoring, usually with Allan Gray, for approximately 15 European movies (his first independent score was in 1932). "The Blue Angel" producer Erich Pommer liked Waxman's work and offered him the composing job for Liliom (1934), directed by Fritz Lang in France.
Pommer decided to do Music in the Air (1934), a Jerome Kern musical, which meant going to Hollywood. Waxman was asked to come along to do the arranging. Needing no further reason to remain in Europe as the Nazi clouds darkened over it, Waxman began a new chapter in Hollywood film music history. He fortunately had some spare time to study with 'Arnold Schoenberg' after coming to Los Angeles, but he was soon talking to another new arrival, English director James Whale, about scoring Bride of Frankenstein (1935) for Universal. Waxman gave Whale what he wanted--an unusual score to fit the quirky, somewhat over-the-top content of the film (in fact, some of this score was later used in other films). As Waxman worked for Universal through the 1930s, he found himself in assembly-line mode, sometimes sharing scoring credit, and doing a lot of arranging stock music, which was usually used for the studio's many serials. This cranked up Waxman's yearly film output to around 20 or so through 1940.
By 1940, however, he was composing original music scores for other studios, beginning with the romantic music for Selznick Studios' Rebecca (1940)--the first Hollywood film for Alfred Hitchcock--and whimsical fare for MGM's The Philadelphia Story (1940). In 1941 he was doing more work for MGM with Honky Tonk (1941) and his second Hitchcock score, Suspicion (1941) from RKO. By 1943 and for the rest of the decade Waxman was usually scoring for Warner Bros., starting with Destination Tokyo (1943) and including music for some of that studio's classics of the period, such as To Have and Have Not (1944) with Humphrey Bogart. Through the decade he was nominated for an Oscar seven times for Best Film Score.
Waxman moved on to Paramount through the first half of the 1950s and garnered his two Oscars in back--to-back wins for Sunset Blvd. (1950) and A Place in the Sun (1951). This recognition finally underscored what was at the heart of all of Waxman's music: seriously focused attention on relaying a film's story through the content of the music. He would continue his scoring work for several studios into the 1960s, with three more nominations. Some of his music in the 1950s was recycled from his previous scores, as in the case of his third assignment for Hitchcock, Rear Window (1954) which contained used music. Waxman was also active in contemporary classical music. In 1947 he founded the Los Angeles International Music Festival and, as Music Director and Conductor, brought the premieres of works by world renowned contemporary composers to the Los Angeles cultural scene. Among his own output of such music was his popular "Carmen Fantasy" for violin and orchestra. Waxman also composed for TV's Gunsmoke (1955), The Fugitive (1963), Peyton Place (1964) (he had composed the music for the film the series was based on, Peyton Place (1957)) and others. Waxman died relatively young, but because of his steady output, only fellow emigrant Max Steiner (who was nearly 20 years older and whose output entailed more than 200 arrangements of stock music, rather than original scores) was a more prolific early Hollywood composer.man behind the music- Actor
- Producer
- Additional Crew
Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.played role of Vincent Parry- Actress
- Soundtrack
Lauren Bacall was born Betty Joan Perske on September 16, 1924, in New York City. She was the daughter of Natalie Weinstein-Bacal, a Romanian Jewish immigrant, and William Perske, who was born in New Jersey, to Polish Jewish parents. Her family was middle-class, with her father working as a salesman and her mother as a secretary. They divorced when she was five and she rarely saw her father after that.
As a school girl, she originally wanted to be a dancer, but later switched gears to head into acting. She studied at the American Academy of Dramatic Arts in New York, after attending She was educated at Highland Manor, a private boarding school in Tarrytown, New York (through the generosity of wealthy uncles), and then at Julia Richman High School, which enabled her to get her feet wet in some off-Broadway productions.
Out of school, she entered modeling and, because of her beauty, appeared on the cover of Harper's Bazaar, one of the most popular magazines in the US. The wife of famed director Howard Hawks spotted the picture in the publication and arranged with her husband to have Lauren take a screen test. As a result, which was entirely positive, she was given the part of Marie Browning in To Have and Have Not (1944), a thriller opposite Humphrey Bogart, when she was just 19 years old. This not only set the tone for a fabulous career but also one of Hollywood's greatest love stories (she married Bogart in 1945). It was also the first of several Bogie-Bacall films.
After 1945's Confidential Agent (1945), Lauren received second billing in The Big Sleep (1946) with Bogart. The mystery, in the role of Vivian Sternwood Rutledge, was a resounding success. Although she was making one film a year, each production would be eagerly awaited by the public. In 1947, again with her husband, Lauren starred in the thriller Dark Passage (1947). The film kept movie patrons on the edge of their seats. The following year, she starred with Bogart, Edward G. Robinson, and Lionel Barrymore in Key Largo (1948). The crime drama was even more of a nail biter than her previous film.
In 1950, Lauren starred in Bright Leaf (1950), a drama set in 1894. It was a film of note because she appeared without her husband - her co-star was Gary Cooper. In 1953, Lauren appeared in her first comedy as Schatze Page in How to Marry a Millionaire (1953). The film, with co-stars Marilyn Monroe and Betty Grable, was a smash hit all across the theaters of America.
After filming Designing Woman (1957), which was released in 1957, Humphrey Bogart died on January 14 from throat cancer. Devastated at being a widow, Lauren returned to the silver screen with The Gift of Love (1958) in 1958 opposite Robert Stack. The production turned out to be a big disappointment. Undaunted, Lauren moved back to New York City and appeared in several Broadway plays to huge critical acclaim. She was enjoying acting before live audiences and the audiences in turn enjoyed her fine performances.
Lauren was away from the big screen for five years, but she returned in 1964 to appear in Shock Treatment (1964) and Sex and the Single Girl (1964). The latter film was a comedy starring Henry Fonda and Tony Curtis. In 1966, Lauren starred in Harper (1966) with Paul Newman and Julie Harris, which was one of former's signature films.
Alternating her time between films and the stage, Lauren returned in 1974's Murder on the Orient Express (1974). The film, based on Agatha Christie's best-selling book was a huge hit. It also garnered Ingrid Bergman her third Oscar. Actually, the huge star-studded cast helped to ensure its success. Two years later, in 1976, Lauren co-starred with John Wayne in The Shootist (1976). The film was Wayne's last - he died from cancer in 1979. In late 1979, Lauren appeared with her good friend, James Garner, in a double episode, Lions, Tigers, Monkeys and Dogs (1979), of his Rockford Files series.
For Lauren's next film role, she appeared in a large ensemble film, HealtH (1980), which again paired her with James Garner, and in 1981, she played an actress being stalked by a crazed admirer in The Fan (1981). The thriller was absolutely fascinating with Lauren in the lead role, again playing opposite her good friend James Garner, making three straight screen roles with Lauren opposite James Garner. After that production, Lauren was away from films again, this time for seven years. In the interim, she again appeared on the stages of Broadway. When she returned, it was for the filming of 1988's Appointment with Death (1988) and Mr. North (1988). After 1990's Misery (1990) and several made for television films, Lauren appeared in 1996's My Fellow Americans (1996), a comedy romp with Jack Lemmon and James Garner as two ex-presidents and their escapades. In 1997, Lauren appeared in The Mirror Has Two Faces (1996), in one of the best roles of her later career, opposite Barbra Streisand, where Lauren was nominated as Best Actress in a Supporting Role by both the Academy and the Golden Globes, winning the Golden Globe for the role.
Despite her age and failing health, she made a small-scale comeback in the English-language dub of Hayao Miyazaki's Howl's Moving Castle (2004) ("Howl's Moving Castle," based on the young-adult novel by Diana Wynne Jones) as the Witch of the Waste, and several other roles through 2008, but thereafter acting endeavors for the beloved actress became increasingly rare. Lauren Bacall died on 12 August 2014, five weeks short of her 90th birthday.love interest to Bogart, no surprise- Herman Brix was a star shot-putter in the 1928 Olympics. After losing the lead in MGM's Tarzan the Ape Man (1932) due to a shoulder injury, he was contracted by Ashton Dearholt for his independent production of The New Adventures of Tarzan (1935), a serial and the only Tarzan film between the silents and the 1960s to present the character accurately, as a sophisticated, educated English nobleman who preferred living in the jungle and was able to speak directly with animals in their own language. He subsequently found himself typecast and confined to starring roles in other serials and character and even bit parts in poverty row features and two-reeler comedies. After starring in the Republic Pictures serial Hawk of the Wilderness (1938) as the Tarzan-like Kioga, he dropped out of films for a few years, took acting lessons, and changed his name to Bruce Bennett. He made many movies after that, gaining fame as a leading man in many Warners products. In 1960, he retired from acting and went into business, becoming sales manager of a major vending machine company, making only occasional TV guest appearances. A reclusive man, he eschewed interviews, although he did appear at one Burroughs-oriented convention in the 1970s and discussed some of his experiences during the making of his Tarzan serial. In 2001, he allowed himself to be interviewed for a slender biography by a Mike Chapman, and held signings at local bookstores, enjoying his "rediscovery" by the general public in the few years remaining before his death.excellent supporting actor for Bogie
- Actress
- Additional Crew
- Soundtrack
Agnes was born of Anglo-Irish ancestry near Boston, the daughter of a Presbyterian minister (her mother was a mezzo-soprano) who encouraged her to perform in church pageants. Aged three, she sang 'The Lord is my Shepherd' on a public stage and seven years later joined the St. Louis Municipal Opera as a dancer and singer for four years. In keeping with her father's dictum of finishing her education first (then being permitted to do whatever she wished with her career), Agnes attended Muskingum College (Ohio), and, subsequently, the University of Wisconsin. She graduated with an M.A. in English and public speaking and later added a doctorate in literature from Bradley University to her resume. When her family moved to Reedsburg, Wisconsin, where her father had a pastorate, Agnes taught public school English and drama for five years. In between, she went to Paris to study pantomime with Marcel Marceau.
In 1928, she began training at the American Academy for Dramatic Arts and graduated with honors the following year. In order to supplement her income , Agnes had turned to radio early on. She had her first job in 1923 as a singer for a St. Louis radio station. Her love for that medium remained with her all her life. From the 1930s to the 50s, she appeared on numerous serials, dramas and children's programs. She was Min Gump in "The Gumps" (1934), the 'dragon lady' in "Terry and the Pirates" (1937), Margot Lane of classic comic strip fame in "The Shadow", Mrs.Danvers in "Rebecca" and the bed-ridden woman about to meet her end in "Sorry, Wrong Number". Acting on the airwaves was so important to her that she would insist on its continuation as a precondition of a later contract with MGM. Significantly, through her radio work on "The Shadow"and "March of Time" in 1937, she met and befriended fellow actor Orson Welles. Welles soon invited her to join him and Joseph Cotten as charter members of his Mercury Theatre on the Air. Agnes was involved in the famous "War of the Worlds" broadcast of 1938 which attracted nationwide attention and resulted in a lucrative $100,000 per picture deal with RKO in Hollywood. The Mercury players (the other principals were Ray Collins, Everett Sloane, Paul Stewart and George Coulouris) packed up and went west.
An ebullient and versatile character actress, Agnes was impossible to typecast: she could play years older than her age, appear as heroine or villainess, tragedienne or comedienne. In her first film, the iconic Citizen Kane (1941), she played the titular character's mother. She received her greatest critical acclaim for her emotive second screen performance as Aunt Fanny Minafer in The Magnificent Ambersons (1942). In addition to being voted the year's best female performer by the New York Film Critics she was also nominated for an Academy Award. Through the years, Agnes would be nominated three more times: for her touching portrayal of the jaded but sympathetic Baroness Conti in Mrs. Parkington (1944); for her role as the title character's Aunt Aggie in Johnny Belinda (1948) and for playing Velma, the hard-boiled, suspicious housekeeper of Bette Davis in Hush...Hush, Sweet Charlotte (1964), co-starring her old friend Joseph Cotten. Other notable film appearances included Jane Eyre (1943), with Orson Welles, The Woman in White (1948) as Countess Fusco), The Lost Moment (1947) (as a 105-year old woman) and Dark Passage (1947), a classic film noir in which she had third billing behind Humphrey Bogart and Lauren Bacall as the treacherous , malevolent Madge Rapf. She had a rare starring role in the campy horror flick The Bat (1959), giving (according to the New York Times of December 17) 'a good, snappy performance'.
On Broadway, she appeared in such acclaimed plays as "All the King's Men" and "Candlelight". She enjoyed success with "Don Juan in Hell", touring nationally: the first time (1951-2) with Charles Laughton and Cedric Hardwicke, the second time (though receiving fewer critical plaudits) with Ricardo Montalban and Paul Henreid in 1973. She also starred with Joseph Cotten in "Prescription Murder" (1962). While not a great critical success, this was much liked by audiences and it introduced a famous detective named Lieutenant Columbo. From 1954, she also toured the U.S. and Europe with her own a one-woman show entitled "The Fabulous Redhead". Agnes performed numerous times on television before landing the role of Endora on Bewitched (1964). One particularly interesting part came her way through the director Douglas Heyes who remembered her from "Sorry, Wrong Number". He cast her in the starring - and indeed, only role in The Invaders (1961). As the lonely old woman confronted by tiny alien invaders in her remote farmhouse, Agnes never utters a single word and cleverly acts her scenes as a pantomime of unspoken terror.
Of course, the genial Agnes Moorehead has been immortalized as Elizabeth Montgomery's flamboyant witch-mother, Endora, although that was not a role the actress wished to be remembered for (in spite of several Emmy Award nominations). Indeed, she had thought this whole witchcraft theme to be rather far-fetched and was somewhat taken aback by the show's huge popularity. Agnes had a special clause inserted in her contract which limited her appearances to eight out of twelve episodes which gave her the opportunity to also work on other projects. Commenting on the acting profession in one of her many interviews (New York Times, May 1, 1974), she found the key to success in being " sincere in your work " and to "just go right on whether audiences or critics are taking your scalp off or not".played role of Madge Rapf- Actor
- Writer
- Producer
Three sons: Thomas, Jim D'Andrea & Mick D'Andrea.
Grandchildren include: Tom's - Rick D'Andrea, Elizabeth D'Andrea-Schusterman & Jim's- April , Justin & Allison D'Andrea . Mick D'Andrea passed away in 1996 of cancer. Great Grandchildren: Sarah Hipp and Anabella D'Andrea Great Great Grandchildren: Aria Diane Rayn Hipp Tom is most remembered for his movie roles at Warner Brothers Studio from 1943 to 1948 & regular 7-year role as neighbor & sidekick, "Jim Gillis", in the NBC-TV sitcom The Life of Riley (1953), starring 'William Bendix' (1953-59).played taxi driver Sam- A tall, powerfully built man, Douglas Kennedy entered films after graduating from Amherst. Making his debut in 1940, he appeared in many westerns and detective thrillers, often as a villain. World War II interrupted his career, and he spent the war years as a Signal Corps officer and an operative in the OSS and US Army Intelligence. After the war he returned to Hollywood, where he began playing supporting roles in larger films and an occasional lead in a lower-budget film. He is most fondly remembered, though, by audiences of the 1950s for two roles: his western TV series Steve Donovan, Western Marshal (1955), and as one of the policemen taken over by the Martians in the sci-fi classic Invaders from Mars (1953).always a reliable heavy playing this time a police detective