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One of the first two contract players for Walt Disney Studios, she made her debut in Song of the South (1946) as a poor white child fascinated by the stories told by Uncle Remus. She made several more films as a child star, then left film for 8 years. She returned as an ingénue in Rock, Pretty Baby! (1956), and followed that by several more films and TV episodes, retiring from Hollywood completely at the end of 1970, except for a brief cameo in Grotesque (1988).- Actress
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Natalie Wood was an American actress of Russian and Ukrainian descent. She started her career as a child actress and eventually transitioned into teenage roles, young adult roles, and middle-aged roles. She drowned off Catalina Island on November 29, 1981 at age 43.
Wood was born July 20, 1938 in San Francisco to Russian immigrant parents: housewife Maria Gurdin (née Zoodiloff), known by multiple aliases including Mary, Marie and Musia, and second husband Nick Gurdin (née Zacharenko), a janitor and prop builder. Nicholas was born in Primorsky Krai, son of a chocolate-factory worker. Maria was born in Barnaul, southern Siberia to a wealthy industrialist. Natalie's maternal grandfather owned soap and candle factories.
Wood's parents had to migrate due to the Russian Civil War. Her paternal grandfather joined the anti-Bolshevik civilian forces early in the war and was killed in a street fight between Red and White Russian soldiers. This convinced the Zacharenkos to migrate to Shanghai, China, where they had relatives. Wood's paternal grandmother remarried in 1927 and moved the family to Vancouver, British Columbia. In 1933 they resettled along the U.S. West Coast. Nicholas met Wood's mother, four years his senior, while she was still married to Alexander Tatuloff, an Armenian mechanic she divorced in 1936.
Mary Tatuloff, Wood's mother, had unfulfilled ambitions of becoming a ballet dancer. She grew up in the Chinese city of Harbin and had married Alexander there in 1925. The Tatuloffs had one daughter, Ovsanna, before coming to America in 1930. After marrying Nicholas Zacharenko in 1938, five months before Wood's birth, Mary (now calling herself Marie) transferred her dream of stardom onto her second child. Marie frequently took a young Wood with her to the cinema, where she could study the films of Hollywood child stars.
Wood's parents changed the family name to Gurdin upon obtaining U.S. citizenship, and her pseudonymous mother finally settled on a permanent first name: Maria. In 1942 they bought a house in Santa Rosa, where young Natalie was noticed by members of a crew during a film shoot. She got to audition for roles as an actress, and the family moved to Los Angeles to help seek out roles for her. RKO Radio Pictures' executives William Goetz and David Lewis chose the stage name Wood for her, in reference to director Sam Wood. Natalie's younger sister Svetlana Gurdin would eventually follow an acting career as well, under the stage name Lana Wood.
Wood made her film debut in Happy Land (1943). She was only five years old, and her scene as the "Little Girl Who Drops Ice Cream Cone" lasted 15 seconds. Wood somehow attracted the interest of film director Irving Pichel who remained in contact with her family. She had few job offers over the following two years, but Pichel helped her get a screen test for a more substantial role in the romance film Tomorrow Is Forever (1946). Wood passed through an audition and won the role of Margaret Ludwig, a post-World War II German orphan. At the time, Wood was unable to "cry on cue" for a key scene, so her mother tore a butterfly to pieces in front of her, giving her a reason to cry for the scene.
Wood started appearing regularly in films following this role and soon received a contract with 20th Century Fox. Her first major role was that of Susan Walker in the Christmas film Miracle on 34th Street (1947), which was a commercial and critical hit. Wood got her first taste of fame, and afterwards Macy's invited her to appear in the store's annual Thanksgiving Day parade. Following her early success, Wood receive many more film offers. She typically appeared in family films, cast as the daughter of such stars as Fred MacMurray, Margaret Sullivan, James Stewart, Joan Blondell, and Bette Davis. Wood found herself in high demand and appeared in over twenty films as a child actress.
The California laws of the era required that until reaching adulthood, child actors had to spend at least three hours per day in the classroom. Wood received her primary education on the studio lots, receiving three hours of school lessons whenever she was working on a film. She was reportedly a "straight A student." Director Joseph L. Mankiewicz was quite impressed by Wood's intellect. After school hours ended, Wood would hurry to the set to film her scenes.
While Wood acquired the services of agents, her early career was micromanaged by her mother. An older Wood gained her first major television role in the short-lived sitcom The Pride of the Family (1953). At the age of 16, she found more success with the role of Judy in Rebel Without a Cause (1955). She played the role of a teenage girl who wears makeup and dresses up in racy clothes to attract the attention of a father who typically ignores her. The film's success helped Wood make the transition from child actress to an ingenue. She was nominated for an Academy Award for Best Supporting Actress.
Her next significant film was The Searchers (1956), a western in which she played the role of abduction victim Debbie Edwards, niece of John Wayne's character. The film was a commercial and critical hit, and has since become regarded as a masterpiece. Also in 1956, Wood graduated from Van Nuys High School. She signed a contract with Warner Brothers, where she was kept busy with several new films. To her disappointment, she was typically cast as the girlfriend of the protagonist and received roles of little depth. For a while, WB had her paired with teen heartthrob Tab Hunter. The studio was hoping that the pairing would serve as a box-office draw, but this did not work out. One of Wood's only serious roles from this period was the title character in Marjorie Morningstar (1958), as a young Jewish girl whose efforts to create her own identity and career path clash with the expectations of her family. The film was a critical success, and fit well with other films exploring the restlessness of youth in the '50s.
Wood's first major box office flop was the biographical film All the Fine Young Cannibals (1960), examining the rags to riches story of jazz musician Chet Baker without actually using his name. The film's box office earnings barely covered the production costs, and MGM recorded a loss of $1,108,000. For the first time. Wood's appeal to the audience was in doubt. With her career in decline following this failure, Wood was seen as "washed up" by many in the film community. But director Elia Kazan gave her the chance to audition for the role of the sexually-repressed Wilma Dean Loomis in his upcoming film Splendor in the Grass (1961). Kazan cast Wood as the female lead, because he found in her (in his words): a "true-blue quality with a wanton side that is held down by social pressure." Kazan is credited for producing Wood's most powerful moment as an actress. The film was a critical success, with Wood nominated for an Academy Award for Best Actress.
Wood's next important film was West Side Story (1961), where she played Maria, a restless Puerto Rican girl. Wood was once again called to represent the restlessness of youth, this time in a story involving youth gangs and juvenile delinquents. The film was a great commercial success with about $44 million gross, the highest-grossing film of 1961. It was also critically acclaimed, and is still regarded as one of the best films of Wood's career. Her next film was Gypsy (1962), playing the role of burlesque entertainer and stripper Gypsy Rose Lee. Film historians credit the film as an even better role for Wood than that of Maria, with witty dialogue, a greater emotional range, and complex characterization. The film was the eighth highest-grossing release of 1962, and was well-received critically.
Wood's next significant role was that of Macy's salesclerk Angie Rossini in Love with the Proper Stranger (1963). In the film, Angie has a one-night-stand with musician Rocky Papasano, played by Steve McQueen, finds herself pregnant and desperately seeks an abortion. The film under-performed at the box office but was critically well-received. Wood received her third (and last) nomination for an Academy Award. At age 25, Wood was tied with Teresa Wright as the youngest person to score three Oscar nominations. Wood held that designation until 2013, when Jennifer Lawrence achieved her third nomination at age 23.
Wood continued her successful film career until 1966, but her health status was not as successful. She was suffering emotionally and had sought professional therapy. She paid Warner Bros. $175,000 to cancel her contract and was able to retire for a while. She also fired her entire support team: agents, managers, publicist, accountant, and attorneys. She took a three-year hiatus from acting.
Wood made her comeback in the comedy Bob & Carol & Ted & Alice (1969) with the themes of sexual liberation and wife swapping. It was a box office hit. Wood decided to gamble her $750,000 fee on a percentage of the gross, earning a million dollars in profits. She chose not to capitalize on the film's success, however, and did not take another acting job for five years.
In 1970, Wood was married to the screenwriter Richard Gregson and was expecting her first child, Natasha Gregson Wagner. She went into semi-retirement to be a stay-at-home mom, appearing in only four more theatrical films before her death. These films were the mystery comedy Peeper (1975), the science fiction film Meteor (1979), the comedy The Last Married Couple in America (1980), and the posthumously-released science fiction film Brainstorm (1983).
In the late '70s, Wood found success in television roles, appearing in several made-for-TV movies and the mini-series From Here to Eternity (1979). Her project received high ratings, and she had plans to make her theatrical debut in a 1982 production of Anastasia.
On November 28, 1981, Wood joined her last husband Robert Wagner, their married friend Christopher Walken, and captain Dennis Davern on a weekend boat trip to Catalina Island. Conspicuously absent from the group was Christopher's wife, casting director Georgianne Walken. The four of them were on board the Wagners' yacht "Splendour." Earwitness Marilyn Wayne heard cries for help around 11:05 P.M. and a "man's voice slurred, and in aggravated tone, say something to the effect of, 'Oh, hold on, we're coming to get you,' and not long after, the cries for help subsided." On the morning of November 29, Wood's corpse was recovered 1 mile (1.6 kilometers) away from the boat, near small Valiant-brand inflatable dinghy beached nearby. The toxicology report revealed her blood alcohol level was at .14, over the legal limit of .10. Wood was buried on December 2 at Westwood Village Memorial Park Cemetery in Los Angeles. Nine days later, the LACSD officially closed the case.- Actress
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Shirley Temple was easily the most popular and famous child star of all time. She got her start in the movies at the age of three and soon progressed to super stardom. Shirley could do it all: act, sing and dance and all at the age of five! Fans loved her as she was bright, bouncy and cheerful in her films and they ultimately bought millions of dollars' worth of products that had her likeness on them. Dolls, phonograph records, mugs, hats, dresses, whatever it was, if it had her picture on there they bought it. Shirley was box-office champion for the consecutive years 1935-36-37-38, beating out such great grown-up stars as Clark Gable, Bing Crosby, Robert Taylor, Gary Cooper and Joan Crawford. By 1939, her popularity declined. Although she starred in some very good movies like Since You Went Away (1944) and the The Bachelor and the Bobby-Soxer (1947), her career was nearing its end. Later, she served as an ambassador to Ghana and Czechoslovakia. It was once guessed that she had more than 50 golden curls on her head.- Actress Peggy Ann Garner was born Feb. 3, 1932, in Canton, Ohio. Her father was an English-born attorney, William H. Garner, who served as a U.S. Army officer during World War II. Virginia, her determined mother, got Peggy into summer stock and modeling before she was six. Estranged from her husband, Virginia moved with her daughter to Hollywood a year later. Peggy was cast in several films before gaining fame as Francie Nolan in A Tree Grows in Brooklyn (1945). After years of separation and estrangement, her parents were divorced in 1947. Peggy, who had a falling out with her mother, went to court to have her father appointed as her guardian.
By the time she reached 20, she had moved from Hollywood to New York to try her talents on Broadway. She spent much of the 1950s living and working in New York, studying with the Actors Studio. She appeared on stage with Dorothy Gish in The Man in 1950, A Royal Family in 1951 and Home is the Hero in 1954. She also was in the road company of Bus Stop in 1955. She received Harvard's Hasty Pudding Award for Woman of the Year in 1956.
Her film career began to fade as she grew older, but she did stage and television work as well as a few other films, never recapturing her childhood fame. Even while earning her living as a real estate broker in the 1960s and as a fleet automobile sales manager during the 1970s, she dreamed of a return to the screen.
She was married and divorced three times. Her second husband was actor Albert Salmi, by whom she had a daughter, Catherine who died shortly after her mother Peggy's untimely death from cancer. Peggy's mother Virginia outlived both her only child and only grandchild. - Actor
- Soundtrack
George 'Spanky' McFarland was born on 2 October 1928 in Dallas, Texas, USA. He was an actor, known for Beginner's Luck (1935), Bedtime Worries (1933) and Second Childhood (1936). He was married to Paula Jeanne Wilkinson and Doris. He died on 30 June 1993 in Grapevine, Texas, USA.- At age 6, Karolyn Grimes played the role of Zuzu Bailey in the holiday film It's a Wonderful Life (1946). Her childhood film career spanned 16 movies, but she is best remembered for playing the daughter of George and Mary Bailey (James Stewart and Donna Reed). The petals from her rose symbolize the values of family, friends and life itself in the 1946 classic, and it is Zuzu who speaks the movie's most memorable line, "Every time a bell rings, an angel gets his wings." In recent years, Karolyn has carried on the spirit of It's a Wonderful Life (1946), serving as the film's most active and appealing ambassador.
- Actor
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- Soundtrack
Bobby Driscoll was a natural-born actor. Discovered by chance at the age of five-and-a-half in a barber shop in Altadena, CA. and then convincing in anything he ever undertook on the movie screen and on television throughout his career spanning 17 years (1943-1960). Includes such notable movie screen appearances as The Fighting Sullivans (1944), Song of the South (1946), So Dear to My Heart (1948), and The Window (1949), which was not only the sleeper of 1949 but even earned him his Academy Award in March 1950 as the outstanding juvenile actor of 1949. For his role as Jim Hawkins in Walt Disney's Treasure Island (1950), he eventually received his Hollywood Star on 1560 Vine Street, and in 1954 he was chosen in a nation-wide poll for a Milky Way Gold Star Award (for his work on TV and radio). But all the more tragic, then, was his fruitless struggle to find a place in a pitiless adolescent world after severe acne had stalled his acting career at 16. When his face was no longer charming and his voice not smooth enough to be used for voice-over jobs, his last big movie hit was the voice of animated Peter Pan (1953), for which he was also the live-action model. When his contract with the Disney studios was prematurely terminated shortly after the release of Peter Pan (1953) in late March 1953, his mother additionally took him from the talent-supporting Hollywood Professional School, which he attended by then. On his new School, the public Westwood University High School, on which he graduated in 1955, all of a sudden his former stardom became more burden than advantage. He successfully continued acting on TV until 1957 and even managed to get two final screen roles; in The Scarlet Coat (1955) and opposite of Mark Damon and Connie Stevens in The Party Crashers (1958). His life became more and more a roller coaster ride that included several encounters with the law and his eventual sentencing as a drug addict in October 1961. Released in early 1962, rehabilitated and eager to make a comeback, Bobby was ignored by the very industry that once had raised and nurtured him, because of his record as a convict and former drug addict. First famous... now infamous. Hoping to revive his career on the stage after his parole had expired in 1964, he eventually traveled to New York, only to learn that his reputation had preceded him, and no one wanted to hire him there, either. After a final appearance in Piero Heliczer's Underground short Dirt (1965) in 1965 and a short art-period at Andy Warhol's so-called Factory, he disappeared into the underground, thoroughly dispirited, funds depleted. On March 30, 1968, two playing children found his dead body in an abandoned East Village tenement. Believed to be an unclaimed and homeless person, he was buried in an unmarked pauper's grave on Hart Island, where he remains.- Actress
- Composer
- Music Department
Petula Clark was a star at the age of 11. She starred in British concert halls and on BBC radio singing for the troops during WWII. She was a child star in a series of British films from the end of WWII through to the early 1950s,and by 1954 was having hit records. After a move to France in 1960, having fallen for a Frenchman, she had hit records all over Europe ,and by 1966 with such hits as "Downtown" and "My Love" having topped the American charts, became a truly international star.- Actor
- Soundtrack
Billie Thomas was an African-American child actor who was best-known for appearing in the "Our Gang" film series from 1934 to its end in 1944.
Born and raised in Los Angeles, Thomas auditioned for an "Our Gang" role when he was three years old. He was cast as a background player in the short films "For Pete's Sake!", "The First Round-Up", and "Washee Ironee", all from 1934.
With the short film "Mama's Little Pirate" (1935), Thomas became the third actor to portray the character "Buckwheat", who had at first been depicted as a bowed-pigtailed female character at first, portrayed by Carlena Beard (1929-1972) and Willie Mae Walton (1918-2018); Thomas was effectively cross-dressing for the role. Buckwheat eventually became a more masculine character, and was first credited as male in "The Pinch Singer" (1936). He gained an entirely-new costume for "Pay as You Exit" (1936), where he played a slave in search of a master. Thomas kept this new look--overalls, striped shirt, oversized shoes, and a large, unkempt Afro--for the duration of playing this role, until 1944.
Thomas performed in "Our Gang" for 10 years. During this time, he was only absent for a single film, "Feed 'em and Weep" (1938), because he was ill. His character was paired with that of Eugene "Porky" Lee: they were "the little kids" who outsmarted "the big kids": George "Spanky" McFarland and Carl "Alfalfa" Switzer.
As a young child, Thomas had a speech impediment; this was transferred to his character and used as a comic device. Both Buckwheat and Porky spoke in "garbled dialogue" and pronounced "OK" as "O-tay!"
The series' original short films were produced by Hal Roach Studios, but production was taken over by Metro-Goldwyn-Mayer in 1938. From 1938 to 1944, MGM produced 52 "Our Gang" short films and Thomas was the only cast member to appear in all of them. He was the only holdover from the Hal Roach era to remain in the series until its end.
Thomas' team-up with Eugene Lee ended when Lee was replaced by new cast member Robert Blake. By 1940 Thomas had outgrown his speech impediment, and Buckwheat started speaking clearly as well. The series' final film was "Dancing Romeo" (1944), and Thomas was 12 years old during its production.
While Buckwheat became synonymous with the "pickaninny" stereotype of African-American children, Thomas himself was well-liked for being depicted as a playmate and equal to the white children of the series. "Our Gang" featured a desegregated cast during the Jim Crow Era.
Thomas largely retired from acting following the 1940s. He served in the United States Army from 1954 to 1956 and received both a National Defense Service Medal and a Good Conduct Medal. Following his discharge, Thomas was offered new acting roles but he rejected them. He viewed an acting career as "a rat race ... with no security". Instead, he chose a more modest career as a film lab technician for the Technicolor corporation.
In the summer of 1980, surviving "Our Gang" cast members appeared in the second annual meeting of the fraternal organization the Sons of the Desert (named after a Laurel and Hardy film). Thomas received a spontaneous standing ovation by 500 fans, and cried in response. On October 10, 1980, he suffered a heart attack and died. He was 49 years old.
Thomas was survived by his son William Thomas Jr. In 1992, the younger Thomas created the Buckwheat Memorial Scholarship for students of California State Northridge University. The scholarship was named in honor of his father and his best-known role.- Actor
- Producer
Born in Nashville, Tennessee, Claude was the son of a railroad accountant. With no intentions of becoming a screen actor at the time, 12-year-old Claude Jarman, Jr. was discovered during an MGM nationwide talent search for their upcoming film, The Yearling (1946), and won the coveted role of Jody Baxter in Marjorie Kinnan Rawlings' classic story. The critics raved over Claude's tremendously moving debut, and the boy was awarded a miniature Oscar on Academy Awards night.
His family moved to California permanently, and Claude studied at the MGM studio school while being built up as a child star. Sad to say, his film success would not last all that long. He seemed to lack the requisite good looks and natural boyish appeal necessary to forge on ahead. His follow-up films were mediocre, however, including High Barbaree (1947) with Van Johnson, The Sun Comes Up (1949) with Jeanette MacDonald, and Roughshod (1949) starring Robert Sterling. His next best role would be in Intruder in the Dust (1949) with David Brian and Juano Hernandez, but it wasn't enough to sustain his career.
By the early 1950s, MGM was loaning him out to Republic Studios in minor programmers and the now-awkward teen lost ground rapidly. Discouraged, Claude returned to Nashville to complete high school and then attended Vanderbilt University where he took a pre-law course. Following his studies, he served three years in the Navy. By the time he returned to Hollywood in 1959, he found no film work at all but did manage to guest on a few TV shows. He later moved to behind-the-scenes work and made minor strides as a producer and film-festival executive director. He once served as director of Cultural Affairs for the City of San Francisco.- Actor
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American actor who began as a child in Our Gang comedies and reappeared as a powerful adult performer of leading and character roles. Born in New Jersey, the young Mickey Gubitosi won a role in MGM's Our Gang series at the age of 5. As one of the more prominent children in the Gang, he gained attention for his cute good looks and his lovable, if somewhat melancholy, personality.
In 1940 he took on the stage name Bobby Blake (though he continued to use the name Mickey Gubitosi in the Our Gang series for another three years) and began playing child roles in a wide range of films. He gained a good deal of fame as the Indian sidekick Little Beaver in the Red Ryder series of Westerns. Though roles were sporadic as he grew to manhood, he was never long off the screen (except for a period of military service, 1954-56). But despite some fine work in films like Pork Chop Hill (1959) and Town Without Pity (1961), his career did not take off until his stunning portrayal of killer Perry Smith in In Cold Blood (1967). A number of telling performances in films of the next decade, stardom in a popular television series (Baretta (1975), and several ruefully comic appearances as a guest on The Tonight Show Starring Johnny Carson (1962) made him a popular figure even as his personal difficulties increased.
Consumed with anger over his treatment by his family and the studio as a child, he denigrated his early work, suffered bouts of difficulty with drugs, and became known as a difficult, perfectionist person to work with. He quit his successful TV series Hell Town (1985) when his personal demons became overwhelming. After a self-imposed exile of nearly eight years, during which he struggled to right his life, he successfully returned to films and television work, appearing renewed and more confident in himself and his work.
In 2001, though, the murder of his wife, Bonnie Bakley, thrust Blake into the limelight in a different way. Admittedly having married Bakley through the coercion of her pregnancy, a routine Bakley had apparently tried with various other celebrities, Blake made no denial of his distaste for the woman, but was by all accounts thrilled with the daughter born to them. Blake was arrested for his wife's murder, but the presumption of innocence trumped when jurors didn't believe what they thought was flimsy evidence, and Blake was acquitted in a trial that made worldwide headlines. Reportedly broke from legal costs, Blake indicated hopefulness that he might be allowed to return to acting work.- Actor
- Soundtrack
Carl Switzer was an American child actor, singer, dog breeder, and hunting guide from Paris, Illinois. He became famous for portraying Alfalfa in the film series "Our Gang" during the 1930s. His character was one of the most memorable characters ever portrayed in the series. Later in his career, Switzer's acting roles were limited to bit parts and appearances in B-movies. He supported himself through other lines of work. Switzer was fatally shot by an acquaintance over a money dispute. The circumstances of his death are disputed, due to contradictory accounts by the shooter and by an eyewitness.
In 1927, Switzer was born in Paris, Illinois. A small city located about 165 miles (266 kilometers) south of Chicago and 90 miles (140 kilometers) west of Indianapolis. Switzer was the youngest of four children born to George Frederick "Fred" Switzer (1905-1960) and his wife Gladys Carrie Shanks (1904-1997). Switzer's older brother was the child actor Harold Switzer (1925-1967).
In the early 1930s, the Switzer brothers were locally famous in their hometown for their music performances. In 1934, the Switzer family traveled to California. They visited the Hal Roach Studios (1914-1961) while sightseeing. The Switzer brothers gave an impromptu performance in the the Our Gang Café, the studio's open-to-the-public cafeteria. They were both offered contracts by producer Hal Roach (1892 -1992), who wanted them to appear in the film series "Our Gang" (1922-1944). The long-running series featured a large group of child actors.
Switzer made his film debut in the "Our Gang" short film "Beginner's Luck" (1935), where his character performs as the "Arizona Nightingale". By the end of the year, Alfalfa (Switzer) had become one of the series' main characters. His brother Harold was relegated to performing background characters in the series. In 1937, Switzer surpassed George McFarland in popularity. At the time, McFarland was the nominal star of the "Our Gang" series. Switzer had a difficult relationship with his co-stars, as he enjoyed playing cruel jokes on them.
Switzer's performances in "Our Gang" ended in 1940. His last appearance as Alfalfa was in the short film "Kiddie Kure" (1940), where the gang members attempted to convince a hypochondriac that his pills were unnecessary. Switzer was 12-years-old at the time of the film's production, making him the oldest member of the main cast. The production team considered him too old to keep playing a child.
Switzer initially found more work in films of the time. He played a young boy scout in the comedy film "I Love You Again" (1940). He next appeared in "Barnyard Follies" (1940), a B-Movie depicting efforts to raise funds for a rural orphanage. Switzer had a leading role in the comedy film "Reg'lar Fellers" (1941), a feature-film adaptation of the long-running comic strip "Reg'lar Fellers" (1917-1949) by Gene Byrnes.
Switzer was reduced to a supporting role in "Henry and Dizzy" (1942), his first appearance in the-then popular film series about the Aldrich Family (1939-1944). The films were adaptations of a long-running radio sitcom of the same name, which lasted from 1939 to 1953. Switzer played a younger member of the Twine family in "There's One Born Every Minute" (1942), a comedy about false advertising. The Twine family profits from marketing their puddings as containing the fantastic Vitamin Z, with the press failing to realize that this vitamin does not exist. A local scientist is persuaded to act as a shill for their product.
Switzer had a minor role in the musical comedy "Johnny Doughboy" (1942), which featured a plot about fictionalized versions of "has-been" child stars. Several other real-life former child stars had roles in this film, including Baby Sandy, Bobby Breen, and George McFarland. The film received an Academy Award nomination for Best Musical Score.
Switzer had the uncredited role of Auggie in "The Human Comedy" (1943), a comedy-drama film about life in the home front of World War II. His character was a friend of Ulysses Macauley (played by Jackie Jenkins). Over the following few years, Switzer would frequently appear in uncredited roles, in films such as "Going My Way" (1944) and "Courage of Lassie" (1946).
Switzer had his first leading role in years when cast as Sammy Levine in "Gas House Kids" (1946). The film depicted the life of unruly youths from the Gas House District of New York City. It was partly inspired by the forced relocation of the District's residents in the 1940s, to make way for an urban renewal project. About 600 buildings were razed, and 3,100 families were forced to relocate. The real-life tragic conditions had inspired the popular culture of the time. The film was successful enough to have its own sequels, "Gas House Kids Go West" (1947) and The "Gas House Kids in Hollywood" (1947). Switzer had leading roles in both sequels, his last leading roles in any film.
During the 1950s, Switzer had a few significant supporting roles in films. He played a co-pilot in the aviation adventure "Island in the Sky" (1953), a pilot in the disaster film "The High and the Mighty" (1954), and a Native American ranch hand in the Western film "Track of the Cat" (1954). He had a minor part in the comedy film "Dig That Uranium" (1956), where the Bowery Boys seek an uranium mine in the Wild West. Switzer also had several appearances in television, serving as a recurring guest star in "The Roy Rogers Show".
Switzer's film career was not particularly lucrative during his adult years. He supplemented his income by breeding and training hunting dogs, and by serving as a guide to hunting expeditions. His most notable clients were Roy Rogers, Dale Evans, James Stewart, and Henry Fonda. In 1954, Switzer married his girlfriend Diantha "Dian" Collingwood (1930-2004). She was the heiress of the company Collingwood Grain, which specialized in the construction of grain elevators. The marriage was a rather hasty decision, as the couple had only met 3 months prior to the wedding.
In 1956, Switzer was broke and his wife Dian was pregnant. Switzer's mother-in-law offered them the administration of a farm near Pretty Prairie, Kansas, and Switzer took the offer. His only, son Justin Lance Collingwood Switzer, was born later that year. Switzer had a reunion with his former co-star George McFarland in 1957. McFarland recalled that Switzer seemed restless, and he got the impression that Switzer was bored with his life as a farmer. He figured that this life "wasn't going to last" for Switzer.
Switzer received a divorce in 1957, and lost custody of his son. In January 1958, Switzer was mysteriously shot in the upper right arm while sitting in his parked car, in front of a bar in Studio City, Los Angeles. The bullet smashed through the car's window. The shooter was never found, and no motive was ever established.
In December 1958, Switzer was arrested by the authorities. He had been cutting trees in the Sequoia National Forest, with the intention to sell them as Christmas trees. This practice was illegal. He was sentenced to pay a fine of 225 dollars, and was also sentenced to one year's probation. This left him in financial trouble for the last month of his life.
In 1959, Switzer was hired to train a hunting dog by Moses Samuel "Bud" Stiltz. Switzer and Stiltz had been business associates for years, having met each other at the Corriganville Movie Ranch. During the dog's training, the dog ran off to chase after a bear. Stiltz demanded that Switzer had to either relocate his dog or pay him the equivalent of the dog's value. Switzer placed a reward for the relocation of the dog and the safe return of the animal. When the dog was found, Switzer rewarded the rescuer with 35 dollars in cash, and the worth of 15 dollars in alcoholic beverages. The reward money pushed Switzer further into poverty.
In late January, 1959, Switzer had an emotional conversation about his financial troubles with photographer Jack Piott. The two figured that Stiltz had to reimburse Switzer for the finder's fee. The two of them headed together to Stiltz's home in Mission Hills, where they got into an argument with him. After being struck on the left side of his head, Stiltz proceeded to threaten the two men with a loaded a .38-caliber revolver.
What happened next is uncertain. Stiltz testified that Switzer pulled a knife on him, and that he had shot him in self-defense. Tom Corrigan (Stiltz's adolescent stepson) later testified that Switzer had decided to end the fight and to leave empty-handed, but Stiltz shot him anyway. In any case, the bullet damaged one of Switzer's arteries and caused massive internal bleeding. Switzer had already died by the time his body was transferred to a hospital. He was 31-years-old at the time of his death.
Switzer was buried in the Hollywood Forever Cemetery, located in the Hollywood district of Los Angeles. His gravestone depicts the image of a hunting dog, to commemorate that he trained hunting dogs for a living. His death initially attracted little attention from the press, but the controversial circumstances of his death have become the subject of true-crime articles and documentaries. Switzer is still remembered as one of the better child actors of his era, and as a reliable actor in supporting roles.- Actor
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Born in Depression-era Texas, Donnie Dunagan moved with his parents to Memphis as a young child. There, as a three-year-old, he was taught to tap dance by a neighbor and entered in a talent contest at the Orpheum Theatre. Donnie won the $100 prize and caught the attention of a movie talent scout in the audience, who arranged for the family to come by train to Hollywood. The blonde moppet made his film debut in "Mother Carey's Chickens" (1938), played the son of the "Son of Frankenstein" (1939) and provided the voice of young Bambi for the 1942 animated classic. Dunagan later became a career Marine (1952-77), serving in Vietnam and working in counter intelligence.- Actor
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Blond, boyishly handsome Dwayne Hickman, the younger brother of Darryl Hickman, followed in his sibling's tiny footsteps as a moppet film actor himself. Born Dwayne Bernard Hickman in Los Angeles on May 18, 1934, the brothers had a younger sister as well, Deidre (born 1940). He had minor roles in such films as Captain Eddie (1945) (Darryl had a major role in this), The Secret Heart (1946), The Boy with Green Hair (1948), Mighty Joe Young (1949), The Happy Years (1950) (again with Darryl in a major role), and topped his youthful film career as "Nip Worden" in the canine movie series "Rusty", which began with The Son of Rusty (1947) and ended with Rusty's Birthday (1949).
Graduating from Cathedral High School in 1952 (Darryl graduated from the same school in 1948), Dwayne enrolled at Loyola Marymount University. He returned to Hollywood following college studies and, unlike his brother, focused strongly on television work, making appearances on such series as Public Defender (1954), The Loretta Young Show (1953), The Lone Ranger (1949), and The Adventures of Ozzie and Harriet (1952). He also appeared in the Paul Newman/Joanne Woodward comedy film Rally 'Round the Flag, Boys! (1958) playing the secondary teen couple with Tuesday Weld. He grabbed major comedy attention, especially from young female baby-boomers, as Chuck, the girl-crazy nephew, in The Bob Cummings Show (1955). (Cummings became his mentor.)
Hickman then played the titular lovesick title high school teen in The Many Loves of Dobie Gillis (1959), the role for which he is best known, and in which he was reunited with Tuesday Weld as the prime object of his attention, although Weld did not remain with the series for the entirety of its run. Laying low for a few years, Hickman returned to the screen, making a strong impression in the western film Cat Ballou (1965), and then began hanging out with the young beach crowd in several AIP movies including Ski Party (1965), How to Stuff a Wild Bikini (1965), and Dr. Goldfoot and the Bikini Machine (1965), and a few slapstick comedies such as Sergeant Dead Head (1965) and Doctor, You've Got to Be Kidding! (1967). He guested on a mix of comedic and dramatic TV shows including Combat! (1962), Mod Squad (1968), Ellery Queen (1975), The Flying Nun (1967), and Kolchak: The Night Stalker (1974).
In the 1970s, Hickman began working behind the scenes as a publicist, a Las Vegas entertainment director and, most successfully, as a programming executive for CBS. He would return only occasionally to acting. He revisited his Dobie Gillis character, albeit a fully grown-up version, in such made-for-television movies as Whatever Happened to Dobie Gillis? (1977) and Bring Me the Head of Dobie Gillis (1988). In addition to guest appearances on Murder, She Wrote (1984) and Hi Honey, I'm Home (1991), he appeared in glorified cameos in High School U.S.A. (1983), had a recurring role on Clueless (1996), and was glimpsed in Cops n Roberts (1995), A Night at the Roxbury (1998), and Angels with Angles (2005). He began episodic directing chores in the 1980's, working on such episodes as "Charles in Charge", "Designing Women", "Head of the Class", "Harry and the Hendersons", and "Sister, Sister". In 1994, he published his biography, aptly titled 'Forever Dobie'.
Thrice wed, Hickman has two children -- one by his first wife, actress/model/beauty pageant winner Carol Christensen (1963-1972) who appeared a few times on "Dobie Gillis", and the other by his present wife, actress/voiceover artist Joan Roberts, to whom he has been married since 1983.- Actor
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Roderick Andrew Anthony Jude McDowall was born in Herne Hill, London, to Winifriede Lucinda (Corcoran), an Irish-born aspiring actress, and Thomas Andrew McDowall, a merchant seaman of Scottish descent. Young Roddy was enrolled in elocution courses at age five. By age 10, he had appeared in his first film, Murder in the Family (1938), playing Peter Osborne, the younger brother of sisters played by Jessica Tandy and Glynis Johns.
His mother brought Roddy and his sister to the U.S. at the beginning of World War II, and he soon got the part of "Huw", the youngest child in a family of Welsh coal miners, in John Ford's How Green Was My Valley (1941), acting alongside Walter Pidgeon, Maureen O'Hara and Donald Crisp in the film that won that year's best film Oscar. He went on to many other child roles, in films like My Friend Flicka (1943) and Lassie Come Home (1943) until, at age eighteen, he moved to New York, where he played a long series of successful stage roles, both on Broadway and in such venues as Connecticut's Stratford Festival, where he did Shakespeare. He became a naturalized United States citizen in 1949.
In addition to making many more movies (over 150), McDowall acted in television, developed an extensive collection of movies and Hollywood memorabilia, and published five acclaimed books of his own photography. He died at his Los Angeles home, aged 70, of cancer. He never married and had no children.- Actress
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She was a child prodigy and pianist at age 10. Her first movie was There's Magic in Music (1941) aka The Hard-Boiled Canary (1941), under the name Dolly (a short version of her real name, Dolores) Loehr. She signed a long-term contract with Paramount in 1942 and had her name changed to Diana Lynn. She had good parts in The Major and the Minor (1942), The Miracle of Morgan's Creek (1943), and Our Hearts Were Young and Gay (1944). She got fewer roles as she matured; she did do My Friend Irma (1949) and My Friend Irma Goes West (1950), based on the popular radio sitcom, and Bedtime for Bonzo (1951), and had a nice career on TV. Her first marriage was from 1948 to 1954 to architect John C. Lindsay (no children); then, on December 6, 1956, she married Mortimer C. Hall, president of L.A. radio station KLAC. His mother was Dorothy Schiff, then publisher of the New York Post. She had four children with him between 1958 and 1964. They moved to New York City so he could assume a post on his mother's paper. Diana Lynn passed away on December 17, 1971, of a stroke/brain hemorrhage in Los Angeles.- 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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Anthony Newley was born in Hackney, London, England, to Frances Grace Newley and George Kirby, a shipping clerk. He was attracted to acting, after seeing an ad for a child actor in a Fleet Street window. He attended the Italia Conti Stage School from the age of 14 and, two years later, played the Artful Dodger in David Lean's film, Oliver Twist (1948). Newley was called up to the Army for his National Service and, by the late 1950s, had a hit song Idol on Parade (1959), while in the movie of the same name. He married his first wife, Tiller Girl Ann Lynn in 1956 but it was a rocky marriage and they divorced in 1963. He was in the pop charts seven times in 1960, twice at Number One with "Why?" and "Do You Mind?" written by Lionel Bart. In 1961, he collaborated with Leslie Bricusse on the hit stage show, Stop the World: I Want to Get Off (1966). After long runs in London and on Broadway, it was made into a film, starring Millicent Martin, with the hit song "What Kind of Fool Am I?". In 1963, he married Rank starlet Joan Collins. She described him at the time as "A half-Jewish Cockney git" and herself as a "half-Jewish princess from Bayswater via Sunset Boulevard". Newley's film career thrived, most notably with acting roles in Doctor Dolittle (1967) and The Cockleshell Heroes (1955), and as a writer and composer. His partnership with Bricusse continued with "The Roar of the Greasepaint: The Smell of the Crowd" and many other Oscar, Grammy and Ivor Novello award-winning collaborations. They had hit songs such as "The Candy Man" and "Goldfinger". His marriage to Joan Collins broke up in 1971. He had two of his four children with her. Tony was married a third time, to former air hostess Dareth Rich, only to divorce again. He once said "My only regret is that, in a show business career, you can have no private life". Alone and facing a battle against cancer, Newley moved in with his mother Gracie - now in her 90s - at her home in Esher, Surrey. The stage performances continued but were nothing to match his heyday. His last TV appearance was in "The Lakes" in February 1999. Anthony Newley died in April of that year.- Actress
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Darla Hood was born in the small town of Leedey, Oklahoma on November 8, 1931. Hood began her association with "Our Gang" at the tender age of 2 1/2, as she stated on the The Jack Benny Program (1950). Her father, James Claude Hood Jr., a banker, and especially her mother, Elizabeth Davner Hood, prodded their daughter's musical talents with singing and dancing lessons in Oklahoma City. She made an unscheduled, impromptu singing debut at Edison Hotel in Times Square when the band-leader invited her onto the stage, and the crowd roared in appreciation. By sheerest coincidence, Joe Rivkin, (an agent of Hal Roach) spotted the four year old scene stealer, screen tested her & signed her to a long-term (7 year) contract at $75 weekly.
Darla went on to perform as the leading "Rascals" actress in 51 of the popular short films plus a television movie. She recalled finding her off-camera time on set as lonely as the boys tended to group together and play such "boys" games as baseball and football. At the beginning of her association with the "Little Rascals", she appeared opposite Stan Laurel and Oliver Hardy in one of their handful of feature films, The Bohemian Girl (1936). Darla Hood's tenure as most popular "Little Rascals" actress, began in 1935's Our Gang Follies of 1936 (1935) and her finale, Wedding Worries (1941). Then, almost 40 years later, during the last four months of her life, she voiced her "Little Rascals" character with the animated off-screen special, The Little Rascals' Christmas Special (1979). She did not live to see it televised.
While very few of the "Our Gang" shorts were made during World War II due to the scarcity of film (a majority of them were saved for feature-length wartime propaganda films), by the time the series was to be finally revived in 1945, she had already outgrown her role. She had some trouble dealing with the inevitable transition into a teen actor and her career faltered badly. She graduated with honors from Fairfax High School (Hollywood). She found some work with Ken Murray's popular "Blackbirds" variety show on the Los Angeles stage as well as some behind-the-scenes work in the post-war years.
With her first husband, Robert W. Decker (whom she married when she was 17 years old), she formed the vocal group "Darla Hood and the Enchanters", which provided incidental background music for such classic films as A Letter to Three Wives (1949). She also made appearances in nightclubs and on television variety shows, The Ken Murray Show (1950), The Paul Whiteman's Goodyear Revue (1949), and she was also performed & or sang songs, on a few Merv Griffin's radio programs. Another successful outlet for her was in the field of voice-over work in cartoons and commercials "Chicken of the Sea" was her longest lasting commercial tenure, as the mermaid. She also did some "Campbell's Soup" commercials, at the same time, but fewer. In time, she became a well-oiled impressionist and trick voice artist.
In June of 1957, at the age of 25, she divorced her first husband after eight years of marriage and by whom she had her first two children (one son, Brett, and one daughter, Darla Jo). She promptly married her former manager, Jose Granson, a musical publisher. She and Granson had three children together. Hood remained small in show business until her untimely end, which came on Wednesday, June 13, 1979, when she died of congestive heart failure. She had recently had an appendectomy at Canoga Park Hospital, during which she received a blood transfusion. The transfusion caused her to contract acute hepatitis, which led to her heart failure. She passed away at a Hollywood hospital. Following her funeral, she was buried at Hollywood Memorial Park Cemetery, later renamed Hollywood Forever.- Actor
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Russ wasn't discovered, he discovered show business at the age of 5 when, with other youngsters at Inglewood, California, he went to Saturday matinees at the Granada Theatre. One afternoon while waiting for the show to start he got on the stage and did an impromptu dance which the kids loved. He repeated it the following week and became so popular that when he didn't appear there was almost a riot. The theater manager spoke to his parents and his mother let him take dancing lessons. Once started on a career he expanded his talents to take in singing and acrobatics performing his first back flip at 10. He later added juggling, a magic act, piano, and drums to his talents which made him a regular performer at local clubs. He made his stage debut with a small theater group directed by Lloyd Bridges which in turn led to his film debut in 'The Boy With Green Hair' followed by a part in 'Samson and Delilah' and the title role in 'The Kid From Cleveland.' He earned an Oscar nomination as Best Supporting Actor for 'Peyton Place' receiving high praise from both director Mark Robson and choreographer Michael Kidd, who was a close friend of Jerome Robbins, and who'd worked with Russ on 'Seven Brides For Seven Brothers.' Summoned for both a dancing and acting screen test with Robert Wise and Jerome Robbins he was cast as Riff the leader of the Jets in the Oscar winning film 'West Side Story.' In his films up to 1952 he was credited as Rusty Tamblyn and Russ Tamblyn after that.- Actress
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Elizabeth Rosemond Taylor was considered one of the last, if not the last, major star to have come out of the old Hollywood studio system. She was known internationally for her beauty, especially for her violet eyes, with which she captured audiences early in her youth and kept the world hooked with ever after.
Taylor was born on February 27, 1932 in London, England. Although she was born an English subject, her parents, Sara Taylor (née Sara Viola Warmbrodt) and Francis Taylor, were Americans, art dealers from St. Louis, Missouri. Her father had moved to London to set up a gallery prior to Elizabeth's birth. Her mother had been an actress on the stage, but gave up that vocation when she married. Elizabeth lived in London until the age of seven, when the family left for the US when the clouds of war began brewing in Europe in 1939. They sailed without her father, who stayed behind to wrap up the loose ends of the art business.
The family relocated to Los Angeles, where Mrs. Taylor's own family had moved. Mr. Taylor followed not long afterward. A family friend noticed the strikingly beautiful little Elizabeth and suggested that she be taken for a screen test. Her test impressed executives at Universal Pictures enough to sign her to a contract. Her first foray onto the screen was in There's One Born Every Minute (1942), released when she was ten. Universal dropped her contract after that one film, but Elizabeth was soon picked up by MGM.
The first production she made with that studio was Lassie Come Home (1943), and on the strength of that one film, MGM signed her for a full year. She had minuscule parts in her next two films, The White Cliffs of Dover (1944) and Jane Eyre (1943) (the former made while she was on loan to 20th Century-Fox). Then came the picture that made Elizabeth a star: MGM's National Velvet (1944). She played Velvet Brown opposite Mickey Rooney. The film was a smash hit, grossing over $4 million. Elizabeth now had a long-term contract with MGM and was its top child star. She made no films in 1945, but returned in 1946 in Courage of Lassie (1946), another success. In 1947, when she was 15, she starred in Life with Father (1947) with such heavyweights as William Powell, Irene Dunne and Zasu Pitts, which was one of the biggest box office hits of the year. She also co-starred in the ensemble film Little Women (1949), which was also a box office huge success.
Throughout the 1950s, Elizabeth appeared in film after film with mostly good results, starting with her role in the George Stevens film A Place in the Sun (1951), co-starring her good friend Montgomery Clift. The following year, she co-starred in Ivanhoe (1952), one of the biggest box office hits of the year. Her busiest year was 1954. She had a supporting role in the box office flop Beau Brummell (1954), but later that year starred in the hits The Last Time I Saw Paris (1954) and Elephant Walk (1954). She was 22 now, and even at that young age was considered one of the world's great beauties. In 1955 she appeared in the hit Giant (1956) with James Dean.
Sadly, Dean never saw the release of the film, as he died in a car accident in 1955. The next year saw Elizabeth co-star with Montgomery Clift in Raintree County (1957), an overblown epic made, partially, in Kentucky. Critics called it dry as dust. In addition, Clift was seriously injured during the film, with Taylor helping save his life. Despite the film's shortcomings and off-camera tragedy, Elizabeth was nominated for an Academy Award for her portrayal of Southern belle Susanna Drake. However, on Oscar night the honor went to Joanne Woodward for The Three Faces of Eve (1957).
In 1958 Elizabeth starred as Maggie Pollitt in Cat on a Hot Tin Roof (1958). The film received rave reviews from the critics and Elizabeth was nominated again for an Academy Award for best actress, but this time she lost to Susan Hayward in I Want to Live! (1958). She was still a hot commodity in the film world, though. In 1959 she appeared in another mega-hit and received yet another Oscar nomination for Suddenly, Last Summer (1959). Once again, however, she lost out, this time to Simone Signoret for Room at the Top (1958). Her Oscar drought ended in 1960 when she brought home the coveted statue for her performance in BUtterfield 8 (1960) as Gloria Wandrous, a call girl who is involved with a married man. Some critics blasted the movie but they couldn't ignore her performance. There were no more films for Elizabeth for three years. She left MGM after her contract ran out, but would do projects for the studio later down the road. In 1963 she starred in Cleopatra (1963), which was one of the most expensive productions up to that time--as was her salary, a whopping $1,000,000. The film took years to complete, due in part to a serious illness during which she nearly died.
This was the film where she met her future and fifth husband, Richard Burton (the previous four were Conrad Hilton, Michael Wilding, Mike Todd--who died in a plane crash--and Eddie Fisher). Her next films, The V.I.P.s (1963) and The Sandpiper (1965), were lackluster at best. Elizabeth was to return to fine form, however, with the role of Martha in Who's Afraid of Virginia Woolf? (1966). Her performance as the loudmouthed, shrewish, unkempt, yet still alluring Martha was easily her finest to date. For this she would win her second Oscar and one that was more than well-deserved. The following year, she and Burton co-starred in The Taming of The Shrew (1967), again giving winning performances. However, her films afterward were box office failures, including Reflections in a Golden Eye (1967), The Comedians (1967), Boom! (1968) (again co-starring with Burton), Secret Ceremony (1968), The Only Game in Town (1970), X, Y & Zee (1972), Hammersmith Is Out (1972) (with Burton again), Ash Wednesday (1973), Night Watch (1973), The Driver's Seat (1974), The Blue Bird (1976) (considered by many to be her worst), A Little Night Music (1977), and Winter Kills (1979) (a controversial film which was never given a full release and in which she only had a small role). She later appeared in some movies, both theatrical and made-for-television, and a number of television programs. In February 1997, Elizabeth entered the hospital for the removal of a brain tumor. The operation was successful. As for her private life, she divorced Burton in 1974, only to remarry him in 1975 and divorce him, permanently, in 1976. She had two more husbands, U.S. Senator John Warner and construction worker Larry Fortensky, whom she met in rehab.
In 1959, Taylor converted to Judaism, and continued to identify herself as Jewish throughout her life, being active in Jewish causes. Upon the death of her friend, actor Rock Hudson, in 1985, she began her crusade on behalf of AIDS sufferers. In the 1990s, she also developed a successful series of scents. In her later years, her acting career was relegated to the occasional TV-movie or TV guest appearance.
Elizabeth Taylor died on March 23, 2011 in Los Angeles, from congestive heart failure. Her final resting place is Forest Lawn Memorial Park, in Glendale, California.- Actress
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The dark, petulant beauty of this petite American film and musical star worked to her advantage, especially in her early dramatic career. Anne Marie Blythe was born of Irish stock to Harry and Annie (nee Lynch) Blythe on August 16, 1928 in Mt. Kisco, New York. Her parents split while she was young and she, her mother and elder sister, Dorothy, moved to New York City, where the girls attended various Catholic schools. Already determined at an early age to perform, Ann attended Manhattan's Professional Children's School and was already a seasoned radio performer, particularly on soap dramas, while in elementary school. A member of New York's Children's Opera Company, the young girl made an important Broadway debut in 1941 at age 13 as the daughter of the characters played by Paul Lukas and Mady Christians in the classic Lillian Hellman WWII drama "Watch on the Rhine", billed as Anne (with an extra "e") Blyth. She stayed with the show for two years.
While touring with the play in Los Angeles, the teenager was noticed by director Henry Koster at Universal and given a screen test. Signed on at age 16 as Ann (without the "e") Blyth, the pretty, photographic colleen displayed her warbling talent in her debut film, Chip Off the Old Block (1944), a swing-era teen musical starring Universal song-and-dance favorites Donald O'Connor and Peggy Ryan. She followed it pleasantly enough with other "B" tune-fests such as The Merry Monahans (1944) and Babes on Swing Street (1944). It wasn't until Warner Bros. borrowed her to make self-sacrificing mother Joan Crawford's life pure hell as the malicious, spiteful daughter Veda in the film classic Mildred Pierce (1945) that she really clicked with viewers and set up her dramatic career. With murder on her young character's mind, Hollywood stood up and took notice of this fresh-faced talent.
Although Blyth lost the Best Supporting Actress Oscar that year to another Anne (Anne Revere), she was borrowed again by Warner Bros. to film Danger Signal (1945). During filming, she suffered a broken back in a sledding accident while briefly vacationing in Lake Arrowhead and had to be replaced in the role. After a long convalescence (over a year and a half in a back brace) Universal used her in a wheelchair-bound cameo in Brute Force (1947).
Her first starring role was an inauspicious one opposite Sonny Tufts in Swell Guy (1946), but she finally began gaining some momentum again. Instead of offering her musical gifts, she continued her serious streak with Killer McCoy (1947) and a dangerously calculated role in Another Part of the Forest (1948), a prequel to The Little Foxes (1941) in which Blyth played the Bette Davis role of Regina at a younger age. Her attempts at lighter comedy were mild at best, playing a fetching creature of the sea opposite William Powell in Mr. Peabody and the Mermaid (1948) and a teen infatuated with a much-older film star, Robert Montgomery, in Once More, My Darling (1949).
At full-throttle as a star in the early 1950s, Blyth transitioned easily among glossy operettas, wide-eyed comedies and all-out melodramas, some of which tended to be overbaked and, thereby, overplayed. When not dishing out the high dramatics of an adopted girl searching for her birth mother in Our Very Own (1950) or a wrongly-convicted murderess in Thunder on the Hill (1951), she was introducing classic standards as wife to Mario Lanza in The Great Caruso (1951) or playing pert and perky in such light confections as Katie Did It (1950). A well-embraced romantic leading lady, she made her last film for Universal playing a Russian countess courted by Gregory Peck in The World in His Arms (1952). MGM eventually optioned her for its musical outings, having borrowed her a couple of times previously. She became a chief operatic rival to Kathryn Grayson at the studio during that time. Grayson, however, fared much better than Blyth, who was given rather stilted vehicles.
Catching Howard Keel's roving eye while costumed to the nines in the underwhelming Rose Marie (1954) and his daughter in Kismet (1955), she also gussied up other stiff proceedings like The Student Prince (1954) and The King's Thief (1955) will attest. Unfortunately, Blyth came to MGM at the tail end of the Golden Age of musicals and probably suffered for it. She was dropped by the studio in 1956. She reunited with old Universal co-star Donald O'Connor in The Buster Keaton Story (1957). Blyth ended her film career on a high note, however, playing the tragic title role in the The Helen Morgan Story (1957) opposite a gorgeously smirking Paul Newman. She had a field day as the piano-sitting, kerchief-holding, liquor-swilling torch singer whose train wreck of a personal life was destined for celluloid. Disappointing for her personally, no doubt, was that her singing voice had to be dubbed (albeit superbly) by the highly emotive, non-operatic songstress Gogi Grant.
Through with films, Blyth's main concentration (after her family) were musical theatre and television. Over the years a number of classic songs were tailored to suit her glorious lyric soprano both in concert form and on the civic light opera/summer stock stages. "The Sound of Music", "The King and I", "Carnival", "Bittersweet", "South Pacific", "Show Boat" and "A Little Night Music" are but a few of her stage credits. During this time Blyth appeared as the typical American housewife for Hostess in its Twinkie, cupcake and fruit pie commercials, a job that lasted well over a decade. She made the last of her sporadic TV guest appearances on Quincy M.E. (1976) and Murder, She Wrote (1984) in the mid-1980s.
Married since 1953 to Dr. James McNulty, the brother of late Irish tenor Dennis Day, she is the mother of five, Blyth continues to be seen occasionally at social functions and conventions.- His father was the actor Reginald Sheffield who began as a child star and later turned to character acting. Johnny appeared at age seven on Broadway in the original cast of "On Borrowed Time". When Maureen O'Sullivan wanted out of her Jane role in the Johnny Weissmuller Tarzan series, it was decided that she and Tarzan would adopt a son (they had to adopt, according to the Legion of Decency, because they weren't married) before she died. Weissmuller personally chose Sheffield for the part of Boy, a part inspired by Bobby Nelson's portrayal in Tarzan the Mighty (1928); athletic by nature, he was taught to swim by swimming Olympian Weissmuller. Tarzan Finds a Son! (1939) was such a success that MGM signed Sheffield to six more films as Tarzan's Boy. By the time of Tarzan and the Mermaids (1948), he was too big for the part; the film merely said he was away at school. When Monogram Studios learned he had been dropped, they picked him up for the series of movies based on the Roy Rockwood Bomba: The Jungle Boy (1949) movies. He made twelve of these between 1949 and 1955.
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Born Angela Maxine O'Brien on January 15, 1937 in San Diego, California. Her film debut was one-minute shot in MGM's Babes on Broadway (1941). Her big moment came when she was cast in Journey for Margaret (1942). This film shot her into instant stardom and also resulted in Angela changing her name to Margaret. Throughout the 1940s Margaret was a major child star. Her unforgettable performance as "Tootie" in Vincente Minnelli's Meet Me in St. Louis (1944) won her an Academy Award as "Outstanding Child Actress" of her day. She gave brilliant performances in such films as The Canterville Ghost (1944), Our Vines Have Tender Grapes (1945), The Secret Garden (1949) and Little Women (1949). By the early 1950s Margaret had made a mint for MGM and earned a personal fortune. Then she brilliantly graduated into adolescent roles and she never retired from the screen. She also remained active on TV and on the dinner-theater circuit. She frequently is appearing at prestigious events as Celebrity Host or Guest Star and popular Public Speaker.- Actress
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Born in New York City on June 25, 1925, the daughter of actors Gene Lockhart and Kathleen Lockhart, June Lockhart made her professional debut at age eight in a Metropolitan Opera production of "Peter Ibbetson", playing Mimsey in the dream sequence. In the mid-1930s, the Lockharts relocated to California, where father Gene enjoyed a long career as one of the screen's great character actors. June made her screen debut in MGM's version of A Christmas Carol (1938), playing--appropriately enough the daughter of stars Gene Lockhart and Kathleen Lockhart. June appeared in a dozen or more movies before 1947, when she made her Broadway bow playing the ingénue in the comedy "For Love or Money" with John Loder. She got a standing ovation on opening night; one critic compared her debut to the first big hits of Helen Hayes and Margaret Sullavan. The overnight toast of Broadway, she went on to win a Tony Award, the Donaldson Award, the Theatre World Award and the Associated Press citation for Woman of the Year for Drama for her work in that play. On television, she has co-starred in popular series like Lassie (1954) and Lost in Space (1965).- Actress
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Teresa Brewer made her debut on "The Major Bowes Amateur Hour" radio program in 1936 and toured with the show until 1943. She made her first recording in 1949 and her first big record was "Music! Music! Music!" It debuted on 4 February 1950 and was Number 1 on the Top 10 charts for four weeks.- Ann Carter was born on 16 June 1936 in Syracuse, New York, USA. She was an actress, known for The Curse of the Cat People (1944), Blondie Hits the Jackpot (1949) and The North Star (1943). She was married to Crosby Newton. She died on 27 January 2014 in Tacoma, Washington, USA.
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An English actress of stage, screen and television, sister to Hayley Mills and daughter of Sir John Mills, Juliet first came to notice in films, actually after her sister Hayley started her career. Juliet, however, was first plucked onto the screen and signing a contract with Warner Brothers and taking small roles in comedies like Nurse on Wheels (1963) and Carry on Jack (1964). It wasn't until 1966, when Juliet Mills started getting attention in her role opposite James Stewart and Maureen O'Hara in the western film The Rare Breed (1966). She continued in television in the seventies as a recurring guest star on The Love Boat (1977), Wonder Woman (1975) and Fantasy Island (1977). She got her first starring television series, Nanny and the Professor (1970), in 1970, co-starring Richard Long, the series was top-rated, but was shortly canceled after two seasons by ABC. She hit the screen again in 1974, playing the possessed "Jessica Barrett" in the Italian horror film Beyond the Door (1974) ("Beyond the Door") for Film Ventures International, but it was pulled from theaters because it resembled The Exorcist (1973), even though it was becoming a box office hit. She didn't get very many roles after that and continued in television through the eighties. She did a small part in Waxwork II: Lost in Time (1992) and then played Juliette Lewis's friendly maid in the 1999 major motion picture The Other Sister (1999), co-starring Diane Keaton and Tom Skerritt. Juliet Mills has recently been in the daytime drama (soap opera) Passions (1999), playing "Tabitha", the witch. She is married to actor Maxwell Caulfield.- Actor
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Sabu Dastagir (or Selar Shaik Sabu, depending on your resource) was born on January 27, 1924, in the little town of Mysore, India, which is nestled in the jungles of Karapur. The son of an elephant driver (mahout) in service for the Maharajah of his town, the young stable boy learned responsibility early in life when, at age 9, his father died and Sabu immediately became the ward of the royal elephant stables. As with many Hollywood success stories, good timing, and dumb luck allowed the impoverished youth a chance for a better life. By sheer chance the timid 12-year-old orphan was discovered by a British location crew while searching for a youth to play the title role (an elephant driver!) in their upcoming feature Elephant Boy (1937). Quite taken aback by his earnest looks, engaging naturalness and adaptability to wild animals and their natural habitat, the studio handed the boy a film career on a sterling silver platter and was placed under exclusive contract by the mogul Alexander Korda himself.
Sabu and his older brother (as guardian) were whisked away to England to complete the picture and became subsequent wards of the British government. They were given excellent schooling in the process and Sabu quickly learned the English language in preparation for his upcoming films. Elephant Boy (1937) was an unqualified hit and the young actor was promptly placed front and center once again in the film The Drum (1938) surrounded by an impressive British cast that included Raymond Massey and Valerie Hobson. With the parallel success of the Tarzan jungle movies in America, Hollywood starting taking a keen look at this refreshingly new boy talent when he first arrived in the U.S. for a publicity tour of the film. Again, his second film was given rave reviews, proving that Sabu would not be just a one-hit wonder.
His third film for Korda is considered one of the great true classics. In the Arabian fantasy-adventure The Thief of Bagdad (1940), Sabu plays Abu the Thief and is not only surrounded by superb actors -- notably June Duprez, John Justin, Rex Ingram (as the genie) and Conrad Veidt (as the evil Grand Vizier) -- but exceptional writing and incredible special effects. Sabu's name began stirring international ears. His last pairing with Korda was the excellent adaptation of Rudyard Kipling's classic book The Jungle Book (1942) playing Mowgli, the boy raised by wolves, who must adapt to the ways of mankind after being returned to his mother. The movie was directed by Alexander's brother Zoltan Korda.
Following this triumph, Sabu officially became the exotic commodity of Universal Pictures and he settled in America. Although initially rewarding monetarily, it proved to be undoing. Unfortunately (and too often typical), a haphazard assembly-line of empty-minded features were developed that hardly compared to the quality pictures in England under Korda. Saddled alongside the unexceptional Maria Montez and Jon Hall, his vehicles Arabian Nights (1942), White Savage (1943) and Cobra Woman (1944) were, for the most part, drivel but certainly did fit the bill as colorful, mindless entertainment.
Almost 20 years old by the time he became a citizen of the U.S. in 1944, he enlisted in the Army Air Force and earned WWII distinction in combat missions (Distinguished Flying Cross, Air Medal, among others) as a tail gunner. By the time Sabu returned to Universal and filming, the charm of his youth had worn off and the boyish stereotype impossible to escape.
Post-war audiences developed new tastes, but Sabu had no choice but to trudge on with retreads of his former glory. Films such as Tangier (1946) again opposite Ms. Montez, Man-Eater of Kumaon (1948) and Song of India (1949) opposite lovely princess Gail Russell did little to advance his career. While filming the last-mentioned movie, Sabu met and married actress Marilyn Cooper who temporarily filled in for an ailing Ms. Russell on the set. The couple went on to have two children.
Sabu actually fared better back in England during the late 40s, starring in the crime drama The End of the River (1947) and appearing fourth-billed as a native general in the exquisitely photographed Black Narcissus (1947). Daring in subject matter, the film had Deborah Kerr heading up a group of Anglican nuns who battle crude traditions, unexpected passions and stark raving madness while setting up a Himalayan order. By the mid-50s Sabu's career was rapidly approaching extinction, seeking work wherever he could find it - in low-budget Europe productions, public appearances, etc. An attempt to conjure up a TV series for himself failed. His life was further aggravated by unpleasant civil and paternity suits brought about against him. His last two pictures were supporting roles in Rampage (1963), which starred Robert Mitchum, and A Tiger Walks (1964), a thoroughly routine Disney picture which was released posthumously.
Sabu died unexpectedly at age 39 of a heart attack on December 2, 1963, at his home in Southern California and was buried at Forest Lawn Cemetery in the Hollywood Hills. Son Paul Sabu developed into an accomplished songwriter and even formed a rock band called Sabu; daughter Jasmine Sabu, who died in 2001, was a noted horse trainer whose skill was utilized occasionally for films. Although he went the way of too many of our former stars, Sabu continues to enchant and excite newer generations with his unmatched athletic skills and magnetic charm in those early adventure fantasies of yesteryear.- His mother enrolled him in a dramatic class to overcome his self-consciousness. His gravel voice was exploited by an MGM talent scout. After his test and positive public reaction he was signed to a term contract to Our Gang. His favorite sport was bicycling. After Our Gang was over, Froggy was riding double on a motorized scooter with a friend delivering newspapers on a old three-lane highway in La Puente. Froggy was the passenger, his friend 'John Wilbrand' was driving and did a sudden U-turn into the front of a truck that hit and ended up killing Froggy who died around 6 hours later in the hospital. Froggy's friend John Wilbrand who was driving only suffered minor injuries. His older brother Tom said that he was just a normal type of kid in high school, doing well, when this accident occurred. After the gang, he did try out in some feature films, but he told his mother he wasn't interested in continuing with that. So his career in movies came to an end.
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Scotty Beckett was one of the cutest, most successful child actors of the 1930s and 1940s. His descent into a life of alcoholism, drugs, and crime remains one of the most tragic of Hollywood stories.
Born Scott Hastings Beckett on October 4, 1929, in Oakland, California, he and his family moved to Los Angeles when Scotty was 3 years old. Shortly after arriving in LA, Beckett's father was hospitalized and Scotty would frequently entertain his dad by singing songs. During one such visit, a Hollywood casting director happened to notice the cherubic youngster and told his parents he had movie potential. Scotty made his debut in Gallant Lady (1933) starring Clive Brook and Ann Harding. Scotty played a boy of three in the film, and Dickie Moore played the same character at the age of six. It was the first of several connections between the two child stars. The next year, he filled the hole vacated by Moore in Our Gang, and they later appeared in Heaven Can Wait (1943), portraying Don Ameche's character as a child. He and Moore finally appeared together in Dangerous Years (1947), which was Marilyn Monroe's screen debut.
Scotty appeared in fifteen Our Gang shorts in two years. Hal Roach noted a resemblance to Jackie Coogan and dressed Beckett accordingly, with an oversized cap and turtleneck sweater reminiscent of Coogan's outfit in The Kid (1921). He was paired with George 'Spanky' McFarland as a kind of partnership within the gang, and their sideline observations and wisecracks highlighted the series from 1934 until 1936, just as Porky and Buckwheat sparked the one-reelers from 1936 on.
After leaving Our Gang, Beckett emerged as one of the top child stars of his era, appearing in many films with the top stars of the late '30s and early '40s. Among his major credits were Dante's Inferno (1935) with Spencer Tracy, Anthony Adverse (1936) with Fredric March, The Charge of the Light Brigade (1936) with Errol Flynn, Conquest (1937) with Greta Garbo, Marie Antoinette (1938) with Norma Shearer, My Favorite Wife (1940) with Cary Grant, and Kings Row (1942) with Claude Rains.
In 1943 Scotty began attending Los Angeles High School and was named treasurer of his freshman class. He also appeared on Broadway that same year in the play "Slightly Married", receiving the only favorable notices of the production, and also played Junior in the hit radio show "The Life of Riley". Adolescence did not slow down his film career, as Scotty continued to win roles in such movies as My Reputation (1946) with Barbara Stanwyck and, most notably, The Jolson Story (1946), wherein he played the young Al Jolson.
He enrolled at USC but dropped out when he began receiving more offers from MGM, beginning with Cynthia (1947) with Elizabeth Taylor, A Date with Judy (1948), again with Taylor and Jane Powell (the future Mrs. Dickie Moore), Battleground (1949) with Van Johnson, Nancy Goes to Rio (1950), again with Powell, and The Happy Years (1950) with fellow child stars Dean Stockwell and Darryl Hickman.
At around the same time, Scotty began to gain notoriety for his nocturnal activities. Part of the young Hollywood set, Beckett was a fixture at parties and would frequently be seen with young stars like Roddy McDowall, Jane Powell, Elizabeth Taylor, and Edith Fellows. His nightlife seemed to become more of a priority than his burgeoning acting career, and it started a trend of reckless, irresponsible behaviors which plagued Beckett the rest of his life. Early success without any sacrifice often breeds a sense of entitlement and a lack of responsibility or consequence. This seems to be an overriding theme, as Beckett began making headlines most Hollywood stars try to avoid.
In 1948 he was arrested for drunk driving after he crashed into another car after attending a frat party where he had "five bourbons". Scotty tried to run from the booking office after being arrested and refused to surrender his possessions. In September of 1949, he eloped with tennis star Beverly Baker. Right from the start, Scotty showed signs that he was not ready for marriage. On their honeymoon in Acapulco, Beckett allegedly threatened to punch a pool bystander in the nose. The couple separated after 5 months of marriage, divorcing in June of 1950. Newspapers covered the divorce, citing Baker's allegations of Beckett's jealousy and controlling, abusive behavior. Scotty tried to get Baker to quit tennis and stop seeing her parents. He also warned her never to have a soft drink "with any boy or man between 6 and 60".
In 1951, Becket met actress Sunny Vickers. Shortly after they began dating , Vickers became pregnant. They married in Phoenix on June 27, 1951, and five months later Scott Hastings Beckett, Jr. was born. The bad publicity of the divorce from Baker plus the forced marriage to Vickers in the conservative 1950s immediately made Beckett a Hollywood outcast. Between 1952 and 1954, Scotty landed only two roles, in relatively minor films, You're Only Young Twice (1952) and Hot News (1953). He was beginning to get desperate.
In early 1954, Beckett landed the role of "Winky" in a low-budget sci-fi show called Rocky Jones, Space Ranger (1954), which today has become a cult classic. However, as former co-stars and ex-friends such as Elizabeth Taylor and Jane Powell emerged as bonafide film stars of the 1950s, a supporting role in a fledgling, unproven industry likely was extremely frustrating for Scotty.
In February of that year, the Cavalier Hotel in Hollywood was robbed of a little more than $130 in cash. The bandit pistol-whipped the desk clerk and disappeared with the loot, or so police thought. Passed out drunk in the basement of the hotel, armed with a gun and a knife, was Scotty Beckett. He was arrested and charged with possession of a weapon, but not with robbery because the money was not found and the clerk could not positively identify the former star as the robber.
After posting bail, Beckett, with his wife and three-year-old son, fled to Mexico. He checked into a Tampico hotel under the name of Sean Bullock, giving Carmel, California as his address. There were two bullet holes in his car that Beckett said were from a gang who tried to rob him south of Juarez.
After running out of cash and options, Scotty wrote several checks on a nonexistent bank to different merchants. After Mexican authorities tracked him to a Ciudad Victoria hotel, he attempted to sneak himself and his family out of the hotel and got into a gunfight with the Mexican police in which 20 shots were exchanged. Miraculously, no one was killed, and Scott and Sunny were eventually captured. Scott Jr. was sent back to Los Angeles.
Scotty served only four months in a Mexican jail before returning to the US in September of 1954. He surrendered to authorities for the weapons charge, pleaded guilty, and amazingly was given only three years' probation. He told newspapers he saw this as an opportunity to pick up the pieces and start over with a clean slate, but it was too little, too late. He was dropped from the Rocky Jones series and replaced with Jimmy Lydon (with whom Beckett had appeared in Cynthia (1947)). A little more than a month later, Beckett was arrested in Las Vegas, once again for bouncing a check.
Scotty re-enrolled at USC to study medicine, but when Our Gang was reissued for TV in 1955 as The Little Rascals, Beckett saw an opportunity to make a comeback in the movies. He appeared in Three for Jamie Dawn (1956) and had walk-ons in The Oklahoman (1957) with Joel McCrea, and Monkey on My Back (1957) with Cameron Mitchell. He proved he could still act and exhibit that same youthful charm, appearing perfectly at ease on camera, particularly in his small role as a Navy corpsman with the Marine Corps in Monkey on My Back (1957). But just when it seemed as though a comeback might happen, Scotty self-destructed again.
In February of 1957, he was caught at a Mexican-US border crossing trying to bring illegal drugs into the US. He said the pills were for his wife, whom he claimed had a nervous ailment. In reality, Sunny Vickers was suffering from alcoholism and had checked herself into Metropolitan State Hospital for treatment. She filed for divorce in August of 1957. After Sunny was awarded custody of Scott Jr., Beckett attempted suicide by swallowing a bottle of sleeping pills. He recovered but realized he was finished as an actor. He tried his hand at selling used cars, among other things. He still had his charm, but he could not stay out of trouble.
In April of 1959, Beckett was arrested on a charge of drunk driving. In August of that same year, he was arrested for driving drunk again, but this time he did not emerge unscathed. He smashed his '52 sedan into a tree, fracturing his skull, thigh, and hip and suffering multiple lacerations to his head. Although he was given probation and a suspended sentence, he remained crippled for the rest of his life.
In September of 1963, he was arrested for assault with a deadly weapon. Now confined to a wheelchair from the near-fatal drunk driving accident, he attempted to stab his neighbor after a dispute. Scotty's wife of two years, Margaret, a divorcée with a teenage daughter named Susan, assisted in breaking up the fight. Three days later Beckett tried to kill himself by slashing his wrists. He recovered from this second suicide attempt, but by that time Margaret had had enough and moved out, taking Susan with her. As she was moving her belongings out, Scotty tried to stop her. He hit Susan over the head with a crutch that he now used after his car accident and was again arrested. He vowed to the judge at his sentencing "never to drink again".
After that, Scotty stayed out of the headlines for a few years. In 1967 he found employment driving an ambulance, perhaps to be close to the prescription drugs to which he was addicted, perhaps to try to revive his interest in becoming a doctor, perhaps to try to forget that he had once graced the screen with Hollywood's biggest stars before his own star had plummeted to earth, or perhaps because he had run out of alternatives.
On May 8, 1968, he checked into the Royal Palms Hotel, a Hollywood nursing home, after suffering a beating in what may have been a drug deal gone wrong. Two days later, he was dead from an overdose of barbiturates; his third suicide attempt was successful. He left behind a note, a son, and some wonderful films and memories.
Leonard Maltin summed it up best when he wrote, "It was a particularly sad end for someone who, as a child, had shown so much easy charm and talent." Scotty Beckett was not the first child star casualty, and he would not be the last, but his story is certainly one of the saddest.- Actor
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Dickie Moore made his acting and screen debut at the age of 18 months in the 1927 John Barrymore film The Beloved Rogue (1927) as a baby, and by the time he had turned 10 he was a popular child star and had appeared in 52 films. He continued as a child star for many more years, and became the answer to the trivia question, "Who was the first actor to kiss Shirley Temple on screen?" when that honor was bestowed upon him in 1942's Miss Annie Rooney (1942). As with many child actors, once Dickie got older the roles began to dry up. He made his last film in 1952, but was still in the public eye with the 1949 to 1955 TV series Captain Video and His Video Rangers (1949). He then retired from acting for a new career in publicity. He later produced industrial shows.- Actor
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Stanley Clements realized he wanted a show-business career while he was in grammar school, and when he graduated he toured in vaudeville for two years. He then joined the touring company of Edward Bowes' (aka Major Bowes) Amateur Hour. In 1941 he was signed to a contract by 20th Century-Fox and appeared in several B films for the studio. After a short stint with the East Side Kids, he set out on his own again, this time landing roles in more prestigious pictures than he had been getting. His career was interrupted by military service in World War II, and when he returned in 1945, he began appearing in lower-budgeted films. He starred in a series of action/detective pictures at Allied Artists for producer Ben Schwalb and director Edward Bernds, and when they were looking for a replacement for Leo Gorcey in the Bowery Boys series, they asked Clements to step in. The series finally ended in 1958, and Clements went on to a steady career of supporting roles in film and TV until his death from emphysema in 1981.- Actress
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Kathryn Beaumont was just ten years old when she was chosen for the voice of Alice, in Disney's animated version of the classic children's tale, Alice in Wonderland (1951). Walt Disney was so impressed with Kathryn's long curly blonde hair, sparkling eyes and acting ability, that he chose her as the model for Alice.- Actor
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American actor who achieved some success as a child and as a young adult, especially in B-Westerns and in television. The son of a Texas newspaper editor. Jones was a accomplished horseman from infancy. At the age of four he was billed as the World's Youngest Trick Rider and Roper. At the age of six, he was hired to perform riding and lariat tricks in the rodeo owned by western star Hoot Gibson. Gibson convinced young Jones and his parents that there was a place for him in Hollywood, and the boy and his mother went west. Gibson arranged for some small parts for the boy. His good looks, energy, and pleasant voice quickly landed him more and bigger parts. In both low-budget Westerns and in more substantial productions. In 1940 he had one of his most prominent roles, as the voice of Pinocchio (1940) in Walt Disney's animated film of the same name. Jones attended Hollywood High School and at 15, took over the role of Henry Aldrich on the hit radio show "The Aldrich Family." He learned carpentry and augmented his income with jobs in that field. He served in the Army in Alaska during the final months of World War II. Gene Autry, who had cast Jones in several Westerns before the war, now put him back to work in films. And later in television, on programs produced by Autry's company. Now billed as Dick Jones the handsome young man starred as Dick West. Where he was sidekick to the Western hero known as The Range Rider (1951), in a TV series that ran for 76 episodes in 1951 (and for decades in syndication). Then Autry gave Jones his own series Buffalo Bill, Jr. (1955)', which ran for 40 episodes. Jones continued working in films throughout the 50's and into the 60's. In 1966 he retired and entered the business world.- Actress
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Faten Hamama (known as "The Lady of the Arabic Screen") has become an icon and the most important actress of Egyptian and Arabic cinema. She is also the most honored actress in the Middle East. Every decade of her life represents a new era of acting and witnessed the reshaping and progression of Egyptian cinema. The progress in her different characters when she started as a child in 1938 until today parallels the progress that modern Egyptian women have made during the 20th century and their interaction with the public, culture or political life. During the celebration of 100 years of Egyptian cinema on 1996, she was chosen as the country's most important actress, and 18 of her films were selected as among the best 150 made to that time. It was no surprise that in 2000 the Egyptian Organization of Critics and Writers named her the Star of the Century.
She was born in 1931 in Elmansoura, Egypt, the daughter of Ahmed Hamama, an employee of the Egyptian Ministry of Knowledge. Her legendary journey started as a secret statement between a six-year-old girl and her father after they watched a film in their neighborhood theater, at which leading actress and producer Asya Dagher was present. Faten told her father that she felt the audience was applauding for her as the leading actress, and her father gave her a hug with a vision of helping his daughter to become a movie star. She won a contest for the most beautiful child in Egypt, and her dad sent her picture to director Muhammad Karim (a pioneer of Egyptian cinema). Karim was looking for a child for his new film with Egyptian musician Mohamed Abdel Wahab. Faten auditioned for and got a role in this movie, Yom said (1940) ("A Happy Day"). She impressed the filmmakers so much during shooting that she was actually given more lines and scenes in the picture than were originally scripted for her. Karim put her under contract, and four years later he gave her a role in a film with Mohamed Abdel Wahab again, Russassa fil kalb (1944) ("A Bullet in the Heart"). With her third movie with Karim, Dunia (1946), Faten showed filmmakers and audiences alike that she was was an actress ready for bigger roles. Her father, along with her family, moved to Cairo to help her in her career. She also began studying her craft at the High Institute of Acting in 1946.
With actor and director Youssef Wahbi (known as the dean of Egyptian theater), Faten started a new stage of her career, in melodramas. Yousef saw her talent in Karim's movies and was able to showcase it to even better advantage in his next film, Malak al rahma (1946) ("The Angel of Mercy"), in which she played his daughter. Although only 15 years old at the time, it was generally agreed that she stole the film. This teenager was soon the talk of the Egyptian cinema, and her star hasn't set since then. She made more films with Wahby, such as Confession Chair (1949) ("The Chair of Confession"), in which she played a lover of the cardinal's brother who mistakenly goes to jail for her father's murder. She had another box-office hit with El yatimatain (1948) ("The Two Orphans"), followed by a successful comedy of the travails of a wife and her mother in law in Sitt el beit (1949) ("The Lady of the House"). She was the favorite of novelists because she could attract the best writers and directors to a project, and it wasn't soon before her name alone would pretty much guarantee success for whatever film she was in.
The 1950s brought new directors to Egyptian cinema and was the beginning of what was to become known as "The Golden Age of Egyptian Cinema". Faten appeared in a number of films by these new directors, such as Salah Abouseif's first realism picture, Laka yom ya zalem (1951) ("Your Day Will Come"), which was a box-office hit and was shown at the prestigious Cannes Film Festival in France. She appeared in such successful films as El tarik el masdud (1958) ("The Barred Road") and won a Best Actresss award for her performance in the romantic political movie La wakta lil hub (1963) ("No Time for Love"). She also supported director Youssef Chahine in his first movie, Baba Amin (1950), then again in his even more successful The Blazing Sun (1954), a realistic work that was also featured at the Cannes Film Festival (Youssef is on record as saying that Faten is his favorite actress and the best Egyptian actress of all time).
She also worked with director Kamal El-Shaikh in his first movie, which introduced the mystery genre to Egyptian cinema, House No. 13 (1952) ("House No. 13"), and again in Lan aataref (1961) ("I Will Not Confess"). Their film El-Lailah el-Akhirah (1963) ("Last Night") captured at least 10 awards in the 1965 national competition and was also shown at the Cannes festival. She excelled at comedy, as evidenced by her astonishing role in El-Ustazah Fatmah (1952) as lawyer Fatma. She also worked closely with two other directors of this period, Ezz El Dine Zulficar and Henry Barakat, and made successful films with both. In fact, she married Zulficar in 1947 while shooting Abu Zeid el Hilali (1947). He was known as the king of "romantic" movies and together they worked to further that vision, as in Khulud (1948) ("Immortality") by Ezz El-Dine Zulficar. They formed a production company and made Moawad ma al hayat (1953) ("Appointment with Life") also directed by Ezz El Dine Zulficar, which was voted movie of the year and received both critical and box-office success (it was this film that caused critics to name her the "Lady of the Arabic Screen", a title she has kept to this day). Faten soon became the highest-paid actress in Egyptian cinema, and remained so until her final feature, Ardh el-Ahlam (1993) ("Land of Dreams") and TV series, Wagh el qamar (2000) ("Face of the Moon"). More successful romantic roles with Ezzel Dine followed, such as Mawad ma al saada (1954) ("Appointment with Happiness"). It was during this period that Ezz El-Dine Zulficar made his famous quote about Faten: "The distance between Faten and the next runner-up is like the distance between 1 and 10". Although they were divorced in 1954, and Faten married Omar Sharif in 1955, she and Ezz El Dine Zulficar continued to make films together, many of which are considered classics of Egyptian romantic cinema, such as Bain el atlal (1959) ("Among the Ruins") and what many consider their masterpiece, Nahr el hub (1960) ("The River of Love"), their version of Lev Tolstoy's great story "Anna Karenina", opposite Omar Sharif, and the two became one of the classic romantic couples of Egyptian cinema, appearing again in Our Best Days (1955) ("Our Best Days"), Sayedat el kasr (1958) ("Lady of the Castle"), Sleepless (1957) ("Sleepless") and The Blazing Sun (1954) ("Struggle in the Valley"). Sharif and Faten divorced on 1974. He made what became a famous statement about Faten, that he only married once because he only loved once, and that was Faten.
Director Henry Barakat specialized in musical romantic movies, social commentary and women's rights in society. During the making of Lahn al khouloud (1952) ("Immortal Song"), they developed a close professional bond, and Barakat used Faten to explore all his talent and all his visions. The success of the romantic musical Lahn al khouloud (1952) that became the movie of the year challenged both of them to make more successful musical romantic films, which they did with such pictures as Daiman maak (1954) ("With You Forever") and Mawad gharam (1956) ("Appointment with Love"). IT was with Barakat that Fatan made her most famous and beloved picture, with her role as Ammna in Doa al karawan (1959) ("The Nightingale's Prayer"), which describes differences between revenge and culture through a romantic story. It was nominated for Best Film at Berlin's International Film Festival and almost made it to the Oscars in the US. This film was chosen as one of best ten movies ever made in Egypt. After this picture Faten made several more films that promoted women's rights in society and created more cultural awareness, such as El bab el maftuh (1963) ("The Open Door"), for which she received the Best Actress award at the Jakarta (Indonesia) International Film Festival. One year later they did it again in El haram (1965) ("The Sin"), which was shown at the Cannes festival that year and was chosen as one of best five movies ever made in Egypt. Faten and Barakat continued their journey together through decades for more outstanding roles as Kheit al rafeigh, -al (1971) ("The Thin Thread"), Mouths and Rabbits (1977) ("Mouths and Rabbits"); Faten won Best Actress awards from two international festival for her role in this movie, and it was the highest-grossing Egyptian film ever made until that time. Their last picture together was a remarkable hit, Leilet al quabd al Fatma (1984) ("The Night of Fatma's Arrest"). Their journey was crowned by a lifetime achievement award for their films together from the Montpellier International Film Festival on 1993. Barakat's was quoted as saying, "If I could get Faten in my films, I will guarantee us the best picture".
Faten left Egypt from 1966-1971 because she resisted political pressure that was applied to her. She divided her time between Lebanon and London, England. During this period Egyptian president Gamal Abdel Nasser asked some prominent critics and writers to try to persuade her to return to Egypt, saying that "Faten Hamama is a national treasure". Her return to Egypt on 1971 breathed life back into Egyptian cinema. She insisted that her films reflect the values of the society through the family relationships. Her first film upon return was Sahera (1971) with Salah Zulfikar. Her role in Imberaturiyyat Mim (1972) ("Empire M") as a widow with six children and the struggles she endured to raise them made the film a success both critically and financially, and she earned a special award from an organization of Soviet Union women when the film was shown at the Moscow International Film Festival. Her film Orid hallan (1975) ("I Need a Solution") which was produced by Salah Zulfikar was not only a big hit but resulted in changes to Egyptian marriage and divorce laws. Faten won the Best Actress award at the Cairo International Film Festival and a Prize of Recognition at the Teheran (Iran) Film Festival. She continued to make films that commented on society, such as Oghneyat elmoot (1973) ("The Song of Death"), Ualla azae lel sayedat (1979) ("No Condolences for Ladies"), Bad Day Good Day (1988) ("Bitter Days, Sweet Days") and her last feature, Ardh el-Ahlam (1993) ("Land of Dreams"), and her TV series, Conscience of Teacher Hikmat (1991) ("The Consciousness of Teacher Hekmat") and Wagh el qamar (2000) ("The Face of the Moon"), which was shown in 23 countries in the Middle East.
Faten Hamama is the fourth Pyramid in Egyptian cinema, a legend in her platinum anniversary, the diamond that remained shining and kept its glowing over the decades on the silver screen.- Peter Behn was born on 24 October 1934 in Prescott, Arizona, USA. He is an actor, known for WGN Morning News (1994), The View (1997) and Bambi: The Magic Behind the Masterpiece (1997). He is married to Pam Pease. He was previously married to Ulla Nielsen.
- Cammie King Conlon was born on 5 August 1934 in Los Angeles, California, USA. She was an actress, known for Gone with the Wind (1939), Change in the Wind (2010) and Living Famously (2002). She was married to Michael W. Conlon and Walter ''Ned'' Pollock. She died on 1 September 2010 in Fort Bragg, California, USA.
- June Preston was a Hollywood child star who went on to become a distinguished opera singer and, at the tender age of 24, toured with The Metropolitan Opera "Stars of the Metropolitan Opera" tour in 1952 in the lead role of "Mimi" in La Bohème opposite Metropolitan star, Jan Peerce as Adolfo. On the same tour she also performed the lead role of "Floria Tosca" in "Tosca", opposite Tenor Walter Fredericks and Salvatore Baccaloni both of the Metropolitan Opera.
Preston was born in Glendale, California. She made her screen debut at age 4 after being spotted on the [film studio] lot and landed her first role as Mrs. Blewett's Daughter in the 1934 film "Anne of Green Gables", and went on to do various other movies including Christmas in July, Have A Heart, In Love With Life, Maytime, Second Fiddle, History Is Made at Night, and Our Gang Follies. With her increasing popularity, she then went on to sign on with major merchandising contracts for various apparel lines including June Preston Frocks, JP Fairy Tale Frocks, a June Preston doll, suites, hats, shoes and toys, paint sets, paper cut out books, and more.
Film career: June Preston had paid a visit to the studio where an executive saw her and called for an immediate screen test, which resulted in a long-term 7-year contract at RKO Film Studios and a 3 film commitment which included, "Anne of Green Gables" with the role of Mrs. Blewett's daughter, then "Have A Heart", and "In Love With Life". Seven years later she entered another 7-year contract with RKO. Preston was also loaned out to various other studios for films such as "Christmas In July", "Maytime", "Second Fiddle", "History Is Made at Night", "Happy Land", and several others.
Preston quickly gained international popularity and went on to work under contract with Paramount, MGM, Universal Studios, Warner Bros., Republic Pictures, followed by various merchandising contracts such as the "June Preston Frocks" apparel lines and a "June Preston Doll". She was considered to be one of the "Big Pay Babes" in Hollywood alongside Shirley Temple and Virginia Weidler. She was known for her Golden curls, cherub like features and charismatic nature. Preston was considered "One of the most beautiful children every seen in films."
Meglin Kiddies: June Preston was also one of the prestigious Meglin Kiddies. She joined in 1934 and was a favorite of Neil Albright, Manager/Owner of the Meglin Dance Studio in Beverly Hills and Santa Monica who signed Preston on and said, "She is expected to develop her into a brilliant child star, under The Meglin artistic training." And she did... in addition to her movie contracts, June Preston had feature parts in numerous Meglin Kiddie short films, radio shows, Our Gang Follies movies featuring Meglin Kiddies. Preston also performed at multiple Hollywood theaters singing and dancing and was a regular at the historic Wadsworth Theatre. Other child stars to come out of The Meglin Dance Studios were Judy Garland, Mickey Rooney, Shirley Temple, Virginia Grey, Jane Withers, Ann Miller, and several of the Our Gang child stars.
Merchandising: After signing with RKO, she quickly achieved international fame, the name of June Preston was trademarked on 1934 through 1950. She then signed with various manufacturers including the then famous Edward D. Schuwall Clothing Firm in New York, who established her first apparel line bearing the name "June Preston Frock" RKO Film Star by JP Loomcraft, better known now as Fruit of the Loom and "Dixie Swirl" dresses. Other manufacturers included were Edward Shuwall & Co., Blossom Infants Coat Co. Inc., H & S Sportswear, I. Schneierson & Son Co. and many more. Her apparel lines included the favored June Preston Frocks, JP Dixie Dresses, JP Sheer Frocks, and in 1944 the debut of the hugely popular JP Fairy Tale Frocks (Cinderella dresses, Alice and Wonderland dresses etc.), as well as undergarments, swimsuits, snowsuits, coats, shoes, purses, hats, gloves, and handkerchiefs all sold worldwide.
Publicity: June Preston and Shirley Temple were similar in style. Shirley Temple was one year older than June Preston and even though they were contracted to separate film studios, they both were often billed together for singing and dancing appearances to publicity autograph events for their own apparel lines and other merchandise. Despite being friends in real life the two girls were often publicized from the very beginning as "Rivals" by the studios and trade publications, which made things a little difficult for June Preston professionally.
Opera: After her film career June Preston went on to become a world famous opera singer. She was always known to have interest in the classics early on and at age 14, Preston was already memorizing opera scores while still in the movie industry. Upon leaving the movie industry Preston moved to Seattle, Washington with her parents and was discovered by maestro Gustavo Stern, a German conductor who had recently moved to Seattle. Stern was at a reception in his honor and heard June Preston singing in the background while everyone was having a good time and singing around the piano, which he was playing, and he immediately stopped and said, who has that voice! Within a week, Stern began coaching Preston from Junior High throughout her university years at the University of Washington, where he was also a professor. Within this time period, Preston performed with the Seattle Civic Light Opera Company with which Stern conducted several operettas featuring Preston in the lead role of Camille in "The Merry Widow", Marietta in "Naughty Marietta", Micaëla in "Carmen", Gianetta in "Gondoliers" "New Moon", and "Der Fledermaus". In that time Preston also performed in the Metropolitan Theater, Seattle Civic Auditorium under the baton of Gustav Stern.
At age 22, Preston was sponsored by CocaCola, McCann-Erickson, Gaseosas, Fridgidaire, and the US Embassy for Radio & TV tours in over 6 countries, Coca Cola publicized Preston as "The Golden Voice" and she was the exclusive artist for McCann-Erickson. In late 1949 Preston began her tour in North and South America performing in top Opera Houses such as, the Teatro Colón in Buenos Aires which has near-perfect acoustics, Teatro Nacional de Costa Rica, Palacio de Bellas Artes in Mexico City, Teatro Municipal in Santiago, Chile, Teatro Municipal, Rio de Janeiro, Gran Teatre del Liceu, Barcelona. As well as performing recitals for Kings, Presidents, and Diplomats. There were several US Embassy galas in honor of June Preston throughout Central and South America where she also performed as the featured guest. Preston was considered the "Established favorite in the lyric theaters in Central and South America." In 1952, she joined the cast of the Metropolitan Opera on the "Stars of the Metropolitan Opera" tour in the lead role of "Mimi" in La Bohème opposite Metropolitan star, Jan Peerce as Rodolfo and Nicola Moscona, Stefan Ballarini, Uta Graf, and the great Salvatore Baccaloni. On a separate tour Preston performed in the lead as "Floria Tosca" in "Tosca", opposite Tenor Walter Fredericks, Salvatore Baccaloni and others of the Metropolitan Opera.
In 1960 Preston returned to the US and made her debut at the St. Louis Symphony Hall as a guest star under the baton of Leopold Stokowski as the soloist in the thrilling last movement finale of Beethoven's Ninth Symphony. Other guest stars included, Isaac Stern, Leonard Bernstein, Leslie Chabay and Jean Madeira. Also within this time in New York City, Preston and Maestro Edwin McArthur were working on her presentation of a new series of compositions to perform on her upcoming European Tour in in 1961.
European Tour: Preston debut at the Concertgebouw in Amsterdam, and thereafter touring throughout Europe performing in the most prestigious Opera Houses in Europe such as Palais Garnier, Teatro alla Scala, Parnassos Concert Hall in Athens Greece, Teatro Municipal, Lisbon Portugal, El Palacio de la Música, Barcelona Spain, Teatre del Liceu, Gran Teatre del Liceu, Teatro Nacional de São Carlos, and many more. The majority of Preston's performances were overseas. All these concerts, programs, reviews, interviews and photos can be seen on her Pinterest Board: Pinterest, June Preston Opera.
Walter Winchell was feared by many, he could make you or break you in the entertainment world, but Winchell had admiration for June Preston and followed her career early on. She was mostly performing abroad but Winchell still would find the time to drop her a line from time to time.
Walter Winchell Column: Paper: New York Mirror, 1/25/1960, page 10: "June Preston is back from the South American show-circuit ", Philladelphia Inquirer: December 20 1962: Page 24. "June Preston, American opera-lark, is getting rave notice in Europe. From an Amsterdam critic: "A smash! Every area a jewel!" June shrugged off the stallers along Broadway and is booked solid around the world..."
While on her European tour, Preston met her future husband at the Théâtre Royal de la Monnaie in Bruxelles, Belgium where she was performing a solo recital with pianist Stranton Carter. Prior to the performance that evening, she arrived with her accompanist for rehearsal but the page turner did not arrive, then in her words, "A handsome man came up to her and offered to turn the pages." This man was Belgian soloist concert violinist Saul Hoüben. He was rehearsing earlier that day for an upcoming performance of his own and "came to her rescue". Saul Hoüben, was a favorite of Queen Elizabeth of Belgium who had been following his progress since he was a child and later presented him with an award for excellence in 1955. He was considered a child prodigy performing his first concerto at age 4. Saul Hoüben and Yehudi Menuhin became childhood friends as they both studied with Georges Enescu in Paris, France. Georges Enescu was a famous Romanian composer, violinist, conductor and teacher.
Repertoire: (Role and "Opera"): Carmen, "Carmen", Mercédès, "Carmen", Mimi, "La bohème", Floria Tosca, "Tosca", Violetta, Valéry, "La Traviata", Cio-Cio-san, "Madame Butterfly", Lulu, "Turandot, Aida, "Aida", Salome, "Salome", Berta, "The Barber of Seville", Desdemona, "Otello", Octavian Count Rofrano, "Der Rosenkavalier", Gilda, "Rigoletto", Suzel, "L'amico", Adele, "Die Fledermaus", Marguerite, "Faust", Margherita, "Mefistofele", Camille, "The Merry Widow", Cunegonde, "Candide", Countess Rosina Almaviva, "The Marriage of Figaro", Charlotte, "Werther", Clara, "Porgy and Bess".
Preston favored recitals above all, and was also particularly well known for her concert recitals ranging from Beethoven, Mozart, Bach, Brahms to Puccini, Strauss, Mahler, Schubert, Hahn, Debussy, and many more. Preston was known to have an extremely large concert recital repertoire and could perform multiple recital concerts without ever repeating the works.
Marriage: Preston married Belgian soloist concert violinist, Saul Hoüben and they had one child at which point Preston retired from touring. In 1982 Preston's husband, Saul Hoüben passed away. Preston never re-married. She performed various concert recitals for benefits and for friends, but did not want to return into the circuit.
Induction: In 1989, Preston was inducted into the WSHS Hall of Fame for her Film and Opera career. In 1994, Preston came out of retirement for a farewell concert performance in Seattle, WA where it all began, which included an aria "Lamento" specifically written for her by her long time friend Writer/Composer Martin Kalmanoff.
Death: June Preston passed away at the age 93 from complications of dementia. She is buried in Forest Lawn Memorial Park-Hollywood Hills in Los Angeles, California and survived by her Daughter, son-in-law, and her sister. - Actress
- Soundtrack
Delightful child/juvenile actress Virginia Anna Adelaide Weidler (her friends called her "Ginny") had that knowing gleam in her eye that usually spelled trouble in one form or another for anyone nearby. She was born in Eagle Rock, California, in 1927, one of six children. Her mother was former Wagnerian opera singer Margarete Radon (born Margarete Therese Louisa Meyer), and her father was architect Alfred Weidler.
Virginia nearly made her acting debut at age 3 in John Barrymore's Moby Dick (1930) but was summarily replaced. A year later, she scored her first small movie bit in Warner Baxter's Surrender (1931) and was on her way. One of her brothers, child actor and musician George Weidler, was Doris Day's first husband (from 1946 to 1949).
RKO picked up young Virginia after learning that she could speak a bit of French. The average-looking youngster was ably cast as rural tomboy types in Laddie (1935) and Freckles (1935), the latter film allowing her to do a dead-on parody of Shirley Temple. She earned her first lead in Girl of the Ozarks (1936) and showed she could easily hold her own. After an unimpressive stint with Paramount, who tried to groom her as a rival to Fox's bratty Jane Withers, she was finally picked up by MGM and her film career blossomed. Co-starring with Mickey Rooney in Love Is a Headache (1938), she proved a natural young comedienne and precocious scene-stealer in such films as Out West with the Hardys (1938) (again with Rooney) and Too Hot to Handle (1938).
Little Virginia could also shine in dramatic outings, as she did with The Lone Wolf Spy Hunt (1939) and Bad Little Angel (1939), but she was never a good choice for sappy roles, as demonstrated when she played Norma Shearer's whiny imp of a daughter in The Women (1939). Virginia's forte was providing comedy relief, and she reached her young peak with two classic MGM films: Young Tom Edison (1940), as Rooney's creative sister, and The Philadelphia Story (1940), as Katharine Hepburn's smart-alecky younger sister. Her tongue-in-cheek rendition of "Lydia the Tattooed Lady" at the piano was just one of many memorable highlights from this vintage classic.
The young actress's career started to slip away from her when the teenage Shirley Temple signed with MGM, abruptly bumping "Plain-Jane" Virginia back to secondary status. After rather disappointing receptions to Born to Sing (1942), The Youngest Profession (1943), and Best Foot Forward (1943), the awkward teen left films and turned to vaudeville as a song-and-dance comedy performer, utilizing her full-scale talents as a mimic. She made her legitimate stage debut in "The Rich Full Life" at the John Golden Theatre in 1945, but the show closed within a month.
Soon after, Virginia retired from show business, married, and had two children. She passed away from a heart ailment at 41. After her death it was learned that she had suffered from rheumatic fever as a child.