My favourite actors
A list of my favourite actors of all time.
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Considered to be one of the most pivotal stars of the early days of Hollywood, Charlie Chaplin lived an interesting life both in his films and behind the camera. He is most recognized as an icon of the silent film era, often associated with his popular character, the Little Tramp; the man with the toothbrush mustache, bowler hat, bamboo cane, and a funny walk.
Charles Spencer Chaplin was born in Walworth, London, England on April 16, 1889, to Hannah Harriet Pedlingham (Hill) and Charles Chaplin, both music hall performers, who were married on June 22, 1885. After Charles Sr. separated from Hannah to perform in New York City, Hannah then tried to resurrect her stage career. Unfortunately, her singing voice had a tendency to break at unexpected moments. When this happened, the stage manager spotted young Charlie standing in the wings and led him on stage, where five-year-old Charlie began to sing a popular tune. Charlie and his half-brother, Syd Chaplin spent their lives in and out of charity homes and workhouses between their mother's bouts of insanity. Hannah was committed to Cane Hill Asylum in May 1903 and lived there until 1921, when Chaplin moved her to California.
Chaplin began his official acting career at the age of eight, touring with the Eight Lancashire Lads. At age 18, he began touring with Fred Karno's vaudeville troupe, joining them on the troupe's 1910 United States tour. He traveled west to California in December 1913 and signed on with Keystone Studios' popular comedy director Mack Sennett, who had seen Chaplin perform on stage in New York. Charlie soon wrote his brother Syd, asking him to become his manager. While at Keystone, Chaplin appeared in and directed 35 films, starring as the Little Tramp in nearly all.
In November 1914, he left Keystone and signed on at Essanay, where he made 15 films. In 1916, he signed on at Mutual and made 12 films. In June 1917, Chaplin signed up with First National Studios, after which he built Chaplin Studios. In 1919, he and Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists (UA).
Chaplin's life and career was full of scandal and controversy. His first big scandal was during World War I, at which time his loyalty to England, his home country, was questioned. He had never applied for American citizenship, but claimed that he was a "paying visitor" to the United States. Many British citizens called Chaplin a coward and a slacker. This and other career eccentricities sparked suspicion with FBI chief J. Edgar Hoover and the House Un-American Activities Committee (HUAC), who believed that he was injecting Communist propaganda into his films. Chaplin's later film The Great Dictator (1940), which was his first "talkie", also created a stir. In the film, Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, the film grossed over $5 million and earned five Academy Award Nominations.
Another scandal occurred when Chaplin briefly dated 22 year-old Joan Barry. However, Chaplin's relationship with Barry came to an end in 1942, after a series of harassing actions from her. In May 1943, Barry returned to inform Chaplin that she was pregnant and filed a paternity suit, claiming that the unborn child was his. During the 1944 trial, blood tests proved that Chaplin was not the father, but at the time, blood tests were inadmissible evidence, and he was ordered to pay $75 a week until the child turned 21.
Chaplin also was scrutinized for his support in aiding the Russian struggle against the invading Nazis during World War II, and the United States government questioned his moral and political views, suspecting him of having Communist ties. For this reason, HUAC subpoenaed him in 1947. However, HUAC finally decided that it was no longer necessary for him to appear for testimony. Conversely, when Chaplin and his family traveled to London for the premier of Limelight (1952), he was denied re-entry to the United States. In reality, the government had almost no evidence to prove that he was a threat to national security. Instead, he and his wife decided to settle in Switzerland.
Chaplin was married four times and had a total of 11 children. In 1918, he married Mildred Harris and they had a son together, Norman Spencer Chaplin, who lived only three days. Chaplin and Harris divorced in 1920. He married Lita Grey in 1924, who had two sons, Charles Chaplin Jr. and Sydney Chaplin. They were divorced in 1927. In 1936, Chaplin married Paulette Goddard, and his final marriage was to Oona O'Neill (Oona Chaplin), daughter of playwright Eugene O'Neill in 1943. Oona gave birth to eight children: Geraldine Chaplin, Michael Chaplin, Josephine Chaplin, Victoria Chaplin, Eugene Chaplin, Jane Chaplin, Annette-Emilie Chaplin, and Christopher Chaplin.
In contrast to many of his boisterous characters, Chaplin was a quiet man who kept to himself a great deal. He also had an "un-millionaire" way of living. Even after he had accumulated millions, he continued to live in shabby accommodations. In 1921, Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1972, he was honored with an Academy Award for his "incalculable effect in making motion pictures the art form of the century". He was appointed Knight Commander of the Order of the British Empire in the 1975 New Year's Honours List. No formal reason for the honour was listed. The citation simply reads "Charles Spencer Chaplin, Film Actor and Producer".
Chaplin's other works included musical scores that he composed for many of his films. He also authored two autobiographical books, "My Autobiography" (1964) and its companion volume, "My Life in Pictures" (1974).
Chaplin died at age 88 of natural causes on December 25, 1977 at his home in Vevey, Switzerland. His funeral was a small and private Anglican ceremony according to his wishes. In 1978, Chaplin's corpse was stolen from its grave and was not recovered for three months; he was re-buried in a vault surrounded by cement.
Six of Chaplin's films have been selected for preservation in the National Film Registry by the United States Library of Congress: The Immigrant (1917), The Kid (1921), The Gold Rush (1925), City Lights (1931), Modern Times (1936), and The Great Dictator (1940).
Charlie Chaplin is considered one of the greatest filmmakers in the history of American cinema, whose movies were and still are popular throughout the world and have even gained notoriety as time progresses. His films show, through the Little Tramp's positive outlook on life in a world full of chaos, that the human spirit has and always will remain the same.- Actor
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Kevin Spacey Fowler, better known by his stage name Kevin Spacey, is an American actor of screen and stage, film director, producer, screenwriter and singer. He began his career as a stage actor during the 1980s before obtaining supporting roles in film and television. He gained critical acclaim in the early 1990s that culminated in his first Academy Award for Best Supporting Actor for the neo-noir crime thriller The Usual Suspects (1995), and an Academy Award for Best Actor for midlife crisis-themed drama American Beauty (1999).
His other starring roles have included the comedy-drama film Swimming with Sharks (1994), psychological thriller Seven (1995), the neo-noir crime film L.A. Confidential (1997), the drama Pay It Forward (2000), the science fiction-mystery film K-PAX (2001)
In Broadway theatre, Spacey won a Tony Award for his role in Lost in Yonkers. He was the artistic director of the Old Vic theatre in London from 2004 until stepping down in mid-2015. Since 2013, Spacey has played Frank Underwood in the Netflix political drama series House of Cards. His work in House of Cards earned him Golden Globe Award and Emmy Award nominations for Best Actor.
As enigmatic as he is talented, Kevin Spacey for years kept the details of his private life closely guarded. As he explained in a 1998 interview with the London Evening Standard, "the less you know about me, the easier it is to convince you that I am that character on screen. It allows an audience to come into a movie theatre and believe I am that person". In October 2017, he ended many years of media speculation about his personal life by confirming that he had had sexual relations with both men and women but now identified as gay.
There are, however, certain biographical facts to be had - for starters, Kevin Spacey Fowler was the youngest of three children born to Kathleen Ann (Knutson) and Thomas Geoffrey Fowler, in South Orange, New Jersey. His ancestry includes Swedish (from his maternal grandfather) and English. His middle name, "Spacey," which he uses as his stage name, is from his paternal grandmother. His mother was a personal secretary, his father a technical writer whose irregular job prospects led the family all over the country. The family eventually settled in southern California, where young Kevin developed into quite a little hellion - after he set his sister's tree house on fire, he was shipped off to the Northridge Military Academy, only to be thrown out a few months later for pinging a classmate on the head with a tire. Spacey then found his way to Chatsworth High School in the San Fernando Valley, where he managed to channel his dramatic tendencies into a successful amateur acting career. In his senior year, he played "Captain von Trapp" opposite classmate Mare Winningham's "Maria" in "The Sound of Music" (the pair later graduated as co-valedictorians). Spacey claims that his interest in acting - and his nearly encyclopedic accumulation of film knowledge - began at an early age, when he would sneak downstairs to watch the late late show on TV. Later, in high school, he and his friends cut class to catch revival films at the NuArt Theater. The adolescent Spacey worked up celebrity impersonations (James Stewart and Johnny Carson were two of his favorites) to try out on the amateur comedy club circuit.
He briefly attended Los Angeles Valley College, then left (on the advice of another Chatsworth classmate, Val Kilmer) to join the drama program at Juilliard. After two years of training he was anxious to work, so he quit Juilliard sans diploma and signed up with the New York Shakespeare Festival. His first professional stage appearance was as a messenger in the 1981 production of "Henry VI".
Festival head Joseph Papp ushered the young actor out into the "real world" of theater, and the next year Spacey made his Broadway debut in Henrik Ibsen's "Ghosts". He quickly proved himself as an energetic and versatile performer (at one point, he rotated through all the parts in David Rabe's "Hurlyburly"). In 1986, he had the chance to work with his idol and future mentor, Jack Lemmon, on a production of Eugene O'Neill's "Long Day's Journey Into Night". While his interest soon turned to film, Spacey would remain active in the theater community - in 1991, he won a Tony Award for his turn as "Uncle Louie" in Neil Simon's Broadway hit "Lost in Yonkers" and, in 1999, he returned to the boards for a revival of O'Neill's "The Iceman Cometh".
Spacey's film career began modestly, with a small part as a subway thief in Heartburn (1986). Deemed more of a "character actor" than a "leading man", he stayed on the periphery in his next few films, but attracted attention for his turn as beady-eyed villain "Mel Profitt" on the TV series Wiseguy (1987). Profitt was the first in a long line of dark, manipulative characters that would eventually make Kevin Spacey a household name: he went on to play a sinister office manager in Glengarry Glen Ross (1992), a sadistic Hollywood exec in Swimming with Sharks (1994), and, most famously, creepy, smooth-talking eyewitness Verbal Kint in The Usual Suspects (1995).
The "Suspects" role earned Spacey an Oscar for Best Supporting Actor and catapulted him into the limelight. That same year, he turned in another complex, eerie performance in David Fincher's thriller Se7en (1995) (Spacey refused billing on the film, fearing that it might compromise the ending if audiences were waiting for him to appear). By now, the scripts were pouring in. After appearing in Al Pacino's Looking for Richard (1996), Spacey made his own directorial debut with Albino Alligator (1996), a low-key but well received hostage drama. He then jumped back into acting, winning critical accolades for his turns as flashy detective Jack Vincennes in L.A. Confidential (1997) and genteel, closeted murder suspect Jim Williams in Midnight in the Garden of Good and Evil (1997). In October 1999, just four days after the dark suburban comedy American Beauty (1999) opened in US theaters, Spacey received a star on the Hollywood Walk of Fame. Little did organizers know that his role in Beauty would turn out to be his biggest success yet - as Lester Burnham, a middle-aged corporate cog on the brink of psychological meltdown, he tapped into a funny, savage character that captured audiences' imaginations and earned him a Best Actor Oscar.
No longer relegated to offbeat supporting parts, Spacey seems poised to redefine himself as a Hollywood headliner. He says he's finished exploring the dark side - but, given his attraction to complex characters, that mischievous twinkle will never be too far from his eyes.
In February 2003 Spacey made a major move back to the theatre. He was appointed Artistic Director of the new company set up to save the famous Old Vic theatre, The Old Vic Theatre Company. Although he did not undertake to stop appearing in movies altogether, he undertook to remain in this leading post for ten years, and to act in as well as to direct plays during that time. His first production, of which he was the director, was the September 2004 British premiere of the play Cloaca by Maria Goos (made into a film, Cloaca (2003)). Spacey made his UK Shakespearean debut in the title role in Richard II in 2005. In 2006 he got movie director Robert Altman to direct for the stage the little-known Arthur Miller play Resurrection Blues, but that was a dismal failure. However Spacey remained optimistic, and insisted that a few mistakes are part of the learning process. He starred thereafter with great success in Eugene O'Neill's A Moon for the Misbegotten along with Colm Meaney and Eve Best, and in 2007 that show transferred to Broadway. In February 2008 Spacey put on a revival of the David Mamet 1988 play Speed-the-Plow in which he took one of the three roles, the others being taken by Jeff Goldblum and Laura Michelle Kelly.
In 2013, Spacey took on the lead role in an original Netflix series, House of Cards (2013). Based upon a British show of the same name, House of Cards is an American political drama. The show's first season received a Primetime Emmy Award nomination to include Outstanding lead actor in a drama series. In 2017, he played a memorable role as a villain in the action thriller Baby Driver (2017).- Actor
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Actor, raconteur, art collector and connoisseur of haute cuisine are just some of the attributes associated with Vincent Price. He was born Vincent Leonard Price, Jr. in St. Louis, Missouri, to Marguerite Cobb "Daisy" (Wilcox) and Vincent Leonard Price, who was President of the National Candy Company. His grandfather, also named Vincent, invented Dr. Price's Baking Powder, which was tartar-based. His family was prosperous, as he said, "not rich enough to evoke envy but successful enough to demand respect." His uniquely cultivated voice and persona were the result of a well-rounded education which began when his family dispatched him on a tour of Europe's cultural centres. His secondary education eventually culminated in a B.A. in English from Yale University and a degree in art history from London's Courtauld Institute.
Famously, his name has long been a byword for Gothic horror on screen. However, Vincent Price was, first and foremost, a man of the stage. It is where he began his career and where it ended. He faced the footlights for the first time at the Gate Theatre in London. At the age of 23, he played Prince Albert in the premiere of Arthur Schnitzler 's 'Victoria Regina' and made such an impression on producer Gilbert Miller that he launched the play on Broadway that same year (legendary actress Helen Hayes played the title role). In early 1938, he was invited to join Orson Welles 's Mercury Theatre on a five-play contract, beginning with 'The Shoemaker's Holiday'. He gave what was described as "a polished performance". Thus established, Vincent continued to make sporadic forays to the Great White Way, including as the Duke of Buckingham in Shakespeare's 'Richard III' (in which a reviewer for the New Yorker found him to be "satisfactorily detestable") and as Oscar Wilde in his award-winning one man show 'Diversions and Delights', which he took on a hugely successful world-wide tour in 1978. While based in California, Vincent was instrumental in the success of the La Jolla Playhouse in San Diego, starring in several of their bigger productions, including 'Billy Budd' and 'The Winslow Boy'. In 1952, Vincent joined the national touring company of 'Don Juan in Hell' in which he was cast as the devil. Acting under the direction of Charles Laughton and accompanied by noted thespians Charles Boyer, Cedric Hardwicke and Agnes Moorehead, he later recalled this as one of his "greatest theatrical excitements".
As well as acting on stage, Vincent regularly performed on radio network programs, including Lux Radio Theatre, CBS Playhouse and shows for the BBC. He narrated or hosted assorted programs ranging from history (If these Walls Could Speak) to cuisine (Cooking Price-Wise). He wrote several best-selling books on his favourite subjects: art collecting and cookery. In 1962, he was approached by Sears Roebuck to act as a buying consultant "selling quality pictures to department store customers". As if that were not enough, he lectured for 15 years on art, poetry and even the history of villainy. He recorded numerous readings of poems by Edgar Allan Poe (nobody ever gave a better recital of "The Raven"!), Shelley and Whitman. He also served on the Arts Council of UCLA, was a member of the Fine Arts Committee for the White House, a former chairman of the Indian Arts & Crafts Board and on the board of trustees of the Los Angeles County Museum of Art.
And besides all of that, Vincent Price remained a much sought-after motion picture actor. He made his first appearance on screen as a romantic lead in Service de Luxe (1938), a frothy Universal comedy which came and went without much fanfare. After that, he reprized his stage role as Master Hammon in an early television production of 'The Shoemaker's Holiday'. For one reason or another, Vincent was henceforth typecast as either historical figures (Sir Walter Raleigh, Duke of Clarence, Mormon leader Joseph Smith, King Charles II, Cardinal Richelieu, Omar Khayyam) or ineffectual charmers and gigolos. Under contract to 20th Century Fox (1940-46), Laura (1944) provided one of his better vehicles in the latter department, as did the lush Technicolor melodrama Leave Her to Heaven (1945) which had Vincent showcased in a notably powerful scene as a prosecuting attorney. His performance was singled out by the L.A. Times as meriting "attention as contending for Academy supporting honors".
His first fling with the horror genre was Dragonwyck (1946), a Gothic melodrama set in the Hudson Valley in the early 1800's. For the first time, Vincent played a part he actually coveted and fought hard to win. His character was in effect a precursor of those he would later make his own while working for Roger Corman and American-International. As demented, drug-addicted landowner Nicholas Van Ryn, he so effectively terrorized Gene Tierney's Miranda Wells that the influential columnist Louella Parsons wrote with rare praise: "The role of Van Ryn calls for a lot of acting and Vincent admits he's a ham and loves to act all over the place, but the fact that he has restrained himself and doesn't over-emote is a tribute to his ability". If Vincent was an occasional ham, he proved it with his Harry Lime pastiche Carwood in The Bribe (1949). Much better was his starring role in a minor western, The Baron of Arizona (1950), in which he was convincingly cast as a larcenous land office clerk attempting to create his own desert baronetcy.
With House of Wax (1953) , Vincent fine-tuned the character type he had established in Dragonwyck, adding both pathos and comic elements to the role of the maniacal sculptor Henry Jarrod. It was arduous work under heavy make-up which simulated hideous facial scarring and required three hours to apply and three hours to remove. He later commented that it "took his face months to heal because it was raw from peeling off wax each night". However, the picture proved a sound money maker for Warner Brothers and firmly established Vincent Price in a cult genre from which he was henceforth unable to escape. The majority of his subsequent films were decidedly low-budget affairs in which the star tended to be the sole mitigating factor: The Mad Magician (1954), The Fly (1958) (and its sequel), House on Haunted Hill (1959), the absurd The Tingler (1959) (easily the worst of the bunch) and The Bat (1959). With few exceptions, Vincent's acting range would rarely be stretched in the years to come.
Vincent's association with the genial Roger Corman began when he received a script for The Fall of the House of Usher, beginning a projected cycle of cost-effective films based on short stories by Edgar Allen Poe. As Roderick Usher, Vincent was Corman's "first and only choice". Though he was to receive a salary of $50,000 for the picture, it was his chance "to express the psychology of Poe's characters" and to "imbue the movie versions with the spirit of Poe" that clinched the deal for Vincent. He made another six films in this vein, all of them box office winners. Not Academy Award stuff, but nonetheless hugely enjoyable camp entertainment and popular with all but highbrow audiences. Who could forget Vincent at his scenery chewing best as the resurgent inquisitor, luring Barbara Steele into the crypt in The Pit and the Pendulum (1961)? Or as pompous wine aficionado Fortunato Luchresi in that deliriously funny wine tasting competition with Montresor Herringbone (Peter Lorre) in Tales of Terror (1962)? Best still, the climactic battle of the magicians pitting Vincent's Erasmus Craven against Boris Karloff's malevolent Dr. Scarabus in The Raven (1963) (arguably, the best offering in the Poe cycle). The Comedy of Terrors (1963) was played strictly for laughs, with the inimitable combo of Price and Lorre this time appearing as homicidal undertakers.
For the rest of the 60s, Vincent was content to remain in his niche, playing variations on the same theme in City in the Sea (1965) and Witchfinder General (1968) (as Matthew Hopkins). He also spoofed his screen personae as Dr. Goldfoot and as perennial villain Egghead in the Batman (1966) series. He rose once more to the occasion in the cult black comedy The Abominable Dr. Phibes (1971) (and its sequel Dr. Phibes Rises Again (1972)) commenting that he had to play Anton Phibes "very seriously so that it would come out funny". The tagline, a parody of the ad for Love Story (1970), announced "love means never having to say you're ugly".
During the 70s and 80s, Vincent restricted himself mainly to voice-overs and TV guest appearances. His final role of note was as the inventor in Edward Scissorhands (1990), a role written specifically for him. The embodiment of gleeful, suave screen villainy, Vincent Price died in Los Angeles in October 1993 at the age of 82. People magazine eulogized him as "the Gable of Gothic." Much earlier, an English critic named Gilbert Adair spoke for many fans when he said "Every man his Price - and mine is Vincent."- Actor
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Seemingly suave, cultivated actor by nature, definitely huge in both talent and girth, and capable of playing much older than he was, Hollywood of the early '40s tragically lost Laird Cregar before it could fully comprehend on how to best utilize his obvious gifts. He was born Samuel Laird Cregar in a well-to-do section of Philadelphia, eventually dropping his first name after forging an acting career. At age eight his parents sent him to England and enrolled him at the Winchester Academy. During his school's off time, his pique in acting escalated after being employed as a page boy with the Stratford-on-Avon Players. Thereafter, his mind was set to become a professional actor. Returning to the U.S., he attended Episcopal Academy in Philadelphia and the Douglas Adams School in Longport, New Jersey. Again, he found meager jobs, such as an usher, in order to stay close to the theater. Awarded a scholarship to the Pasadena Community Playhouse, he trained there for two years before going out on his own and finding minor work on the bi-coastal stage and finding minuscule parts in films.
Laird's break came of his own making. After witnessing Robert Morley's triumph in the title role of "Oscar Wilde" on Broadway, Laird set upon finding backing for his own version of the play. Debuting in Los Angeles and finding resounding success there as well as in San Francisco, film studios began competing for his services with Twentieth Century-Fox winning out. He made his feature debut opposite Paul Muni in Hudson's Bay (1940) in the boisterous role of a fur trapper and solidified his movie standing by appearing flamboyantly as a bullfighting critic at odds with Tyrone Power's matador in the popular Technicolor classic Blood and Sand (1941). He then went on to show a scene-stealing prowess for stylish farce as one of Jack Benny "suitors" in the drag comedy Charley's Aunt (1941).
By the time Laird cut a mean, sinister path in I Wake Up Screaming (1941), playing a detective so insanely hung up on a murdered girl (Carole Landis) that he deliberately frames an innocent man (Victor Mature) for her crime, it was obvious films could rely on him for any of their comedic or dramatic ventures. There seemed nothing he couldn't do, but it was obvious audiences loved him as the 300 lb. man you love to hate - goaded on by his nefarious doings in the film noir classic This Gun for Hire (1942) starring Alan Ladd and Rings on Her Fingers (1942) with Gene Tierney.
On the Los Angeles theater front he gave Monty Woolley a run for the money in Woolley's signature stage role of Sheridan Whiteside in "The Man Who Came to Dinner". Along with the good came some contrived roles in a few mediocre films ranging from training officers to hammy-styled pirates. Even so, he usually stood out among the other actors in some fashion. He even played the Devil himself in the exquisitely humor-laced Ernst Lubitsch comedy Heaven Can Wait (1943).
His film career was capped by his definitive Jack the Ripper in The Lodger (1944). Investing the psychotic role with an intense, gripping realism and off-putting, oily charm, he led a brilliantly seasoned cast and relished a death scene in the film (in truth, the real-life serial killer was never caught) that dared to forever stereotype him as a Sydney Greenstreet-like villain. Unfortunately, his early death robbed film audiences of seeing what course Laird's career would have taken. Sure enough, his last celluloid offering in Hangover Square (1945) was as another despicable character with murder on its maniacal mind. Top-lining a cast that included Linda Darnell (as an object of his affection), and George Sanders, he this time portrayed a temperamental composer who suffers from a split personality disorder and, prone to periodic blackouts, commits brutal murders. Another compelling death scene had his mad character wildly pounding out a concerto while the room around him goes up in flames and the ceiling crashes down on him.
Laird's obsession with avoiding the inevitable stereotype as a "heavy heavy" and wistful pursuit of a romantic leading man career compelled him to go on a reckless, unsupervised crash diet (from 300 lbs to 200 lbs), which is evident by his drastically trimmed-down look in his last film. This proved too strenuous on his system and he was forced to undergo surgery for a severe stomach disorder. His 30-year-old heart gave out on the morning of December 9, 1944, only days after his operation. He was survived by his mother.- Actor
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George Sanders was born of English parents in St. Petersburg, Russia. He worked in a Birmingham textile mill, in the tobacco business and as a writer in advertising. He entered show business in London as a chorus boy, going from there to cabaret, radio and theatrical understudy. His film debut, in 1936, was as Curly Randall in Find the Lady (1936). His U.S. debut, the same year, with Twentieth Century-Fox, was as Lord Everett Stacy in Lloyd's of London (1936). During the late 1930s and early 1940s he made a number of movies as Simon Templar--the Saint--and as Gay Lawrence, the Falcon. He played Nazis (Maj. Quive-Smith in Fritz Lang's Man Hunt (1941)), royalty (Charles II in Otto Preminger's Forever Amber (1947)), and biblical roles (Saran of Gaza in Cecil B. DeMille's Samson and Delilah (1949)). He won the 1950 Academy Award for Best Supporting Actor as theatre critic Addison De Witt in Joseph L. Mankiewicz's All About Eve (1950). In 1957 he hosted a TV series, The George Sanders Mystery Theater (1957). He continued to play mostly villains and charming heels until his suicide in 1972.- Actor
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Tyrone Power was one of the great romantic swashbuckling stars of the mid-twentieth century, and the third Tyrone Power of four in a famed acting dynasty reaching back to the eighteenth century. His great-grandfather was the first Tyrone Power (1795-1841), a famed Irish comedian. His father, known to historians as Tyrone Power Sr., but to his contemporaries as either Tyrone Power or Tyrone Power the Younger, was a huge star in the theater (and later in films) in both classical and modern roles. His mother, Helen Emma "Patia" (née Reaume), (Mrs. Tyrone Power), was also a Shakespearean actress as well as a respected dramatic coach.
Tyrone Edmund Power, Jr., (also called Tyrone Power III) was born at his mother's home of Cincinnati, Ohio, in 1914. His ancestry included English, Irish, German, French Huguenot, and French-Canadian. A frail, sickly child, he was taken by his parents to the warmer climate of southern California. After his parents' divorce, he and his sister Anne Power returned to Cincinnati with their mother. There he attended school while developing an obsession with acting. Although raised by his mother, he corresponded with his father, who encouraged his acting dreams. He was a supernumerary in his father's stage production of 'The Merchant of Venice' in Chicago and held him as he died suddenly of a heart attack later that year.
Startlingly handsome, young Tyrone nevertheless struggled to find work in Hollywood. He appeared in a few small roles, then went east to do stage work. A screen test led to a contract at 20th Century Fox in 1936, and he quickly progressed to leading roles. Within a year or so, he was one of Fox's leading stars, playing in contemporary and period pieces with ease. Most of his roles were colorful without being deep, and his swordplay was more praised than his wordplay. He served in the Marine Corps in World War II as a transport pilot, and he saw action in the Pacific Theater of operations.
After the war, he got his best reviews for an atypical part as a downward-spiraling con-man in Nightmare Alley (1947). Although he remained a huge star, much of his postwar work was unremarkable. He continued to do notable stage work and also began producing films. Following a fine performance in Billy Wilder's Witness for the Prosecution (1957), Power began production on Solomon and Sheba (1959). Halfway through shooting, he suffered a heart attack during a dueling scene with George Sanders and died before reaching a hospital.
His three children, including his namesake, Tyrone William Power IV (known professionally as Tyrone Power Jr.), have all followed him in the family acting tradition.- Actor
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Cornel Wilde was born Kornel Lajos Weisz on October 13, 1912 in Prievidza, Hungary (now part of Slovakia) to a Jewish family. In 1920, he immigrated to New York City with his parents, Rayna (Vid) and Vojtech Béla Weisz, and elder sister, Edith. His family Anglicized their names. Kornel took the name Cornelius Louis Wilde. He spent much of his youth traveling in Europe, developing a continental flair as well as an affinity for languages. He received a scholarship for medical school, but turned it down in favor of his new love, the theatre.
A natural athlete and a champion fencer with the U.S. Olympic fencing team, he quit the team just prior to the 1936 Berlin Olympics in order to take a role in a play. In 1937, he married Marjorie Heintzen (later known as Patricia Knight), and they both shaved a few years off their ages in order to get work, Wilde thereafter claiming publicly he was born in New York in 1915 while continuing to list his correct place and year of birth on government documents.
Shortening his name to Cornel Wilde for the stage, he appeared in the Broadway hit "Having a Wonderful Time", but it wasn't until he was hired in the dual capacities of fencing choreographer and actor (Tybalt) in Laurence Olivier's 1940 Broadway production of "Romeo and Juliet" that Hollywood spotted him. He played a few minor roles before leaping to fame and an Oscar nomination as Frederic Chopin in A Song to Remember (1945). He spent the balance of the 1940s in romantic, and often swashbuckling, leading roles.
During the 1950s, his star dimmed a little, and aside from an occasional blockbuster like The Greatest Show on Earth (1952), he settled mainly into adventure films. A growing interest in directing led him to form his own production company with the goal of directing his own films. Several of his ventures into film noir in this period, both his own and those of other directors, are quite interesting (The Big Combo (1955) and Storm Fear (1955), for example). He produced, directed and starred in The Naked Prey (1965), a tour-de-force adventure drama that brought him real acclaim as a director. His later films were of varying quality, and he ended his career in near-cameos in minor adventure films. He died of leukemia in 1989, three days after his 77th birthday, leaving behind an unpublished autobiography, "The Wilde Life".- Actor
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American leading man of the 1940s and 1950s, Dana Andrews was born Carver Dana Andrews on New Years Day 1909 on a farmstead outside Collins, Covington County, Mississippi. One of thirteen children, including fellow actor Steve Forrest, he was a son of Annis (Speed) and Charles Forrest Andrews, a Baptist minister.
Andrews studied business administration at Sam Houston State Teachers College in Texas, but took a bookkeeping job with Gulf Oil in 1929, aged 20, prior to graduating. In 1931, he hitchhiked to California, hoping to get work as an actor. He drove a school bus, dug ditches, picked oranges, worked as a stock boy, and pumped gas while trying without luck to break into the movies. His employer at a Van Nuys gas station believed in him and agreed to invest in him, asking to be repaid if and when Andrews made it as an actor. Andrews studied opera and also entered the Pasadena Community Playhouse, the famed theatre company and drama school. He appeared in scores of plays there in the 1930s, becoming a favorite of the company. He played opposite future star Robert Preston in a play about composers Gilbert and Sullivan, and soon thereafter was offered a contract by Samuel Goldwyn.
It was two years before Goldwyn and 20th Century-Fox (to whom Goldwyn had sold half of Andrews' contract) put him in a film, but the roles, though secondary, were mostly in top-quality pictures such as The Westerner (1940) and The Ox-Bow Incident (1942). A starring role in the hit Laura (1944), followed by one in The Best Years of Our Lives (1946), made him a star, but no later film quite lived up to the quality of these. During his career, he had worked with with such directors as Otto Preminger, Fritz Lang, William Wyler, William A. Wellman, Jean Renoir, and Elia Kazan.
Andrews slipped into a steady stream of unremarkable films in which he gave sturdy performances, until age and other interests resulted in fewer appearances. In addition, his increasing alcoholism caused him to lose the confidence of some producers. Andrews took steps to curb his addiction and in his later years was an outspoken member of the National Council on Alcoholism, who decried public refusal to face the problem. He was probably the first actor to do a public service announcement about alcoholism (in 1972 for the U.S. Department of Transportation), and did public speaking tours. Andrews was one of the first to speak out against the degradation of the acting profession, particularly actresses doing nude scenes just to get a role.
Andrews was elected president of the Screen Actors Guild in 1963, serving until 1965. He retired from films in the 1960s and made, he said, more money from real estate than he ever did in movies. Yet he and his second wife, actress Mary Todd, lived quietly in a modest home in Studio City, California. Andrews suffered from Alzheimer's disease in his later years and spent his final days in a nursing facility. He died of congestive heart failure and pneumonia in 1992, aged 83.- Actor
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Kevin Kline was born in St. Louis, Missouri, to Margaret and Robert Joseph Kline, who owned several stores. His father was of German Jewish descent and his mother was of Irish ancestry. After attending Indiana University in Bloomington, Kline studied at the Juilliard School in New York. In 1972, Kline joined the Acting Company in New York which was run by John Houseman. With this company, Kline performed Shakespeare across the country. On the stage, Kline has won two Tony Awards for his work in the musicals "On the Twentieth Century" (1978) and "The Pirates of Penzance" (1981). After working on the Television soap Search for Tomorrow (1951), Kline went to Hollywood where his first film was Sophie's Choice (1982). He was nominated for a Golden Globe for his performance. His work in the ensemble cast of The Big Chill (1983) would again be highly successful, so that when Lawrence Kasdan wrote Silverado (1985), Kline would again be part of the cast. With his role as Otto "Don't call me Stupid!" West in the film A Fish Called Wanda (1988), Kline would win the Oscar for Supporting Actor. Kline could play classic roles such as Hamlet in Hamlet (1990); or a swashbuckling actor like Douglas Fairbanks in Chaplin (1992); or a comedic role in Soapdish (1991). In all the films that he has worked in, it is hard to find a performance that is not well done. In 1989, Kline married actress Phoebe Cates.- Actor
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With an authoritative voice and calm demeanor, this ever popular American actor has grown into one of the most respected figures in modern US cinema. Morgan was born on June 1, 1937 in Memphis, Tennessee, to Mayme Edna (Revere), a teacher, and Morgan Porterfield Freeman, a barber. The young Freeman attended Los Angeles City College before serving several years in the US Air Force as a mechanic between 1955 and 1959. His first dramatic arts exposure was on the stage including appearing in an all-African American production of the exuberant musical Hello, Dolly!.
Throughout the 1970s, he continued his work on stage, winning Drama Desk and Clarence Derwent Awards and receiving a Tony Award nomination for his performance in The Mighty Gents in 1978. In 1980, he won two Obie Awards, for his portrayal of Shakespearean anti-hero Coriolanus at the New York Shakespeare Festival and for his work in Mother Courage and Her Children. Freeman won another Obie in 1984 for his performance as The Messenger in the acclaimed Brooklyn Academy of Music production of Lee Breuer's The Gospel at Colonus and, in 1985, won the Drama-Logue Award for the same role. In 1987, Freeman created the role of Hoke Coleburn in Alfred Uhry's Pulitzer Prize-winning play Driving Miss Daisy, which brought him his fourth Obie Award. In 1990, Freeman starred as Petruchio in the New York Shakespeare Festival's The Taming of the Shrew, opposite Tracey Ullman. Returning to the Broadway stage in 2008, Freeman starred with Frances McDormand and Peter Gallagher in Clifford Odets' drama The Country Girl, directed by Mike Nichols.
Freeman first appeared on TV screens as several characters including "Easy Reader", "Mel Mounds" and "Count Dracula" on the Children's Television Workshop (now Sesame Workshop) show The Electric Company (1971). He then moved into feature film with another children's adventure, Who Says I Can't Ride a Rainbow! (1971). Next, there was a small role in the thriller Blade (1973); then he played Casca in Julius Caesar (1979) and the title role in Coriolanus (1979). Regular work was coming in for the talented Freeman and he appeared in the prison dramas Attica (1980) and Brubaker (1980), Eyewitness (1981), and portrayed the final 24 hours of slain Malcolm X in Death of a Prophet (1981). For most of the 1980s, Freeman continued to contribute decent enough performances in films that fluctuated in their quality. However, he really stood out, scoring an Oscar nomination as a merciless hoodlum in Street Smart (1987) and, then, he dazzled audiences and pulled a second Oscar nomination in the film version of Driving Miss Daisy (1989) opposite Jessica Tandy. The same year, Freeman teamed up with youthful Matthew Broderick and fiery Denzel Washington in the epic Civil War drama Glory (1989) about freed slaves being recruited to form the first all-African American fighting brigade.
His star continued to rise, and the 1990s kicked off strongly with roles in The Bonfire of the Vanities (1990), Robin Hood: Prince of Thieves (1991), and The Power of One (1992). Freeman's next role was as gunman Ned Logan, wooed out of retirement by friend William Munny to avenge several prostitutes in the wild west town of Big Whiskey in Clint Eastwood's de-mythologized western Unforgiven (1992). The film was a sh and scored an acting Oscar for Gene Hackman, a directing Oscar for Eastwood, and the Oscar for best picture. In 1993, Freeman made his directorial debut on Bopha! (1993) and soon after formed his production company, Revelations Entertainment.
More strong scripts came in, and Freeman was back behind bars depicting a knowledgeable inmate (and obtaining his third Oscar nomination), befriending falsely accused banker Tim Robbins in The Shawshank Redemption (1994). He was then back out hunting a religious serial killer in Se7en (1995), starred alongside Keanu Reeves in Chain Reaction (1996), and was pursuing another serial murderer in Kiss the Girls (1997).
Further praise followed for his role in the slave tale of Amistad (1997), he was a worried US President facing Armageddon from above in Deep Impact (1998), appeared in Neil LaBute's black comedy Nurse Betty (2000), and reprised his role as Alex Cross in Along Came a Spider (2001). Now highly popular, he was much in demand with cinema audiences, and he co-starred in the terrorist drama The Sum of All Fears (2002), was a military officer in the Stephen King-inspired Dreamcatcher (2003), gave divine guidance as God to Jim Carrey in Bruce Almighty (2003), and played a minor role in the comedy The Big Bounce (2004).
2005 was a huge year for Freeman. First, he he teamed up with good friend Clint Eastwood to appear in the drama, Million Dollar Baby (2004). Freeman's on-screen performance is simply world-class as ex-prize fighter Eddie "Scrap Iron" Dupris, who works in a run-down boxing gym alongside grizzled trainer Frankie Dunn, as the two work together to hone the skills of never-say-die female boxer Hilary Swank. Freeman received his fourth Oscar nomination and, finally, impressed the Academy's judges enough to win the Best Supporting Actor Oscar for his performance. He also narrated Steven Spielberg's War of the Worlds (2005) and appeared in Batman Begins (2005) as Lucius Fox, a valuable ally of Christian Bale's Bruce Wayne/Batman for director Christopher Nolan. Freeman would reprise his role in the two sequels of the record-breaking, genre-redefining trilogy.
Roles in tentpoles and indies followed; highlights include his role as a crime boss in Lucky Number Slevin (2006), a second go-round as God in Evan Almighty (2007) with Steve Carell taking over for Jim Carrey, and a supporting role in Ben Affleck's directorial debut, Gone Baby Gone (2007). He co-starred with Jack Nicholson in the breakout hit The Bucket List (2007) in 2007, and followed that up with another box-office success, Wanted (2008), then segued into the second Batman film, The Dark Knight (2008).
In 2009, he reunited with Eastwood to star in the director's true-life drama Invictus (2009), on which Freeman also served as an executive producer. For his portrayal of Nelson Mandela in the film, Freeman garnered Oscar, Golden Globe and Critics' Choice Award nominations, and won the National Board of Review Award for Best Actor.
Recently, Freeman appeared in RED (2010), a surprise box-office hit; he narrated the Conan the Barbarian (2011) remake, starred in Rob Reiner's The Magic of Belle Isle (2012); and capped the Batman trilogy with The Dark Knight Rises (2012). Freeman has several films upcoming, including the thriller Now You See Me (2013), under the direction of Louis Leterrier, and the science fiction actioner Oblivion (2013), in which he stars with Tom Cruise.- Actor
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Joseph Frank Keaton was born on October 4, 1895 in Piqua, Kansas, to Joe Keaton and Myra Keaton. Joe and Myra were Vaudevillian comedians with a popular, ever-changing variety act, giving Keaton an eclectic and interesting upbringing. In the earliest days on stage, they traveled with a medicine show that included family friend, illusionist Harry Houdini. Keaton himself verified the origin of his nickname "Buster", given to him by Houdini, when at the age of three, fell down a flight of stairs and was picked up and dusted off by Houdini, who said to Keaton's father Joe, also nearby, that the fall was 'a buster'. Savvy showman Joe Keaton liked the nickname, which has stuck for more than 100 years.
At the age of four, Keaton had already begun acting with his parents on the stage. Their act soon gained the reputation as one of the roughest in the country, for their wild, physical antics on stage. It was normal for Joe to throw Buster around the stage, participate in elaborate, dangerous stunts to the reverie of audiences. After several years on the Vaudeville circuit, "The Three Keatons", toured until Keaton had to break up the act due to his father's increasing alcohol dependence, making him a show business veteran by the age of 21.
While in New York looking for work, a chance run-in with the wildly successful film star and director Roscoe 'Fatty' Arbuckle, resulted in Arbuckle inviting him to be in his upcoming short The Butcher Boy (1917), an appearance that launched Keaton's film career, and spawned a friendship that lasted until Arbuckle's sudden death in 1933. By 1920, after making several successful shorts together, Arbuckle moved on to features, and Keaton inherited his studio, allowing him the opportunity to begin producing his own films. By September 1921, tragedy touched Arbuckle's life by way of a scandal, where he was tried three times for the murder of Virginia Rapp. Although he was not guilty of the charges, and never convicted, he was unable to regain his status, and the viewing public would no longer tolerate his presence in film. Keaton stood by his friend and mentor through out the incident, supporting him financially, finding him directorial work, even risking his own budding reputation offering to testify on Arbuckle's behalf.
In 1921, Keaton also married his first wife, Natalie Talmadge under unusual circumstance that have never been fully clarified. Popular conjecture states that he was encouraged by Joseph M. Schenck to marry into the powerful Talmadge dynasty, that he himself was already a part of. The union bore Keaton two sons. Keaton's independent shorts soon became too limiting for the growing star, and after a string of popular films like One Week (1920), The Boat (1921) and Cops (1922), Keaton made the transition into feature films. His first feature, Three Ages (1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization.
At the height of his popularity, he was making two features a year, and followed Ages with Our Hospitality (1923), The Navigator (1924) and The General (1926), the latter two he regarded as his best films. The most renowned of Keaton's comedies is Sherlock Jr. (1924), which used cutting edge special effects that received mixed reviews as critics and audiences alike had never seen anything like it, and did not know what to make of it. Modern day film scholars liken the story and effects to Christopher Nolan Inception (2010), for its high level concept and ground-breaking execution. Keaton's Civil War epic The General (1926) kept up his momentum when he gave audiences the biggest and most expensive sequence ever seen in film at the time. At its climax, a bridge collapses while a train is passing over it, sending the train into a river. This wowed audiences, but did little for its long-term financial success. Audiences did not respond well to the film, disliking the higher level of drama over comedy, and the main character being a Confederate soldier.
After a few more silent features, including College (1927) and Steamboat Bill, Jr. (1928), Keaton was informed that his contract had been sold to MGM, by brother-in-law and producer Joseph M. Schenck. Keaton regarded the incident as the worst professional mistake he ever made, as it sent his career, legacy, and personal life into a vicious downward spiral for many years. His first film with MGM was The Cameraman (1928), which is regarded as one of his best silent comedies, but the release signified the loss of control Keaton would incur, never again regaining his film -making independence. He made one more silent film at MGM entitled Spite Marriage (1929) before the sound era arrived.
His first appearance in a film with sound was with the ensemble piece The Hollywood Revue of 1929 (1929), though despite the popularity of it and his previous MGM silents, MGM never allowed Keaton his own production unit, and increasingly reduced his creative control over his films. By 1932, his marriage to Natalie Talmadge had dissolved when she sued him for divorce, and in an effort to placate her, put up little resistance. This resulted in the loss of the home he had built for his family nicknamed "The Italian Villa", the bulk of his assets, and contact with his children. Natalie changed their last names from Keaton to Talmadge, and they were disallowed from speaking about their father or seeing him. About 10 years later, when they became of age, they rekindled the relationship with Keaton. His hardships in his professional and private life that had been slowly taking their toll, begun to culminate by the early 1930s resulting in his own dependence on alcohol, and sometimes violent and erratic behavior. Depressed, penniless, and out of control, he was fired by MGM by 1933, and became a full-fledged alcoholic.
After spending time in hospitals to attempt and treat his alcoholism, he met second wife Mae Scrivens, a nurse, and married her hastily in Mexico, only to end in divorce by 1935. After his firing, he made several low-budget shorts for Educational Pictures, and spent the next several years of his life fading out of public favor, and finding work where he could. His career was slightly reinvigorated when he produced the short Grand Slam Opera (1936), which many of his fans admire for giving such a good performance during the most difficult and unmanageable years of his life.
In 1940, he met and married his third wife Eleanor Norris, who was deeply devoted to him, and remained his constant companion and partner until Keaton's death. After several more years of hardship working as an uncredited, underpaid gag man for comedians such as the Marx Brothers, he was consulted on how to do a realistic and comedic fall for In the Good Old Summertime (1949) in which an expensive violin is destroyed. Finding no one who could do this better than him, he was given a minor role in the film. His presence reignited interest in his silent films, which lead to interviews, television appearances, film roles, and world tours that kept him busy for the rest of his life.
After several more film, television, and stage appearances through the 1960s, he wrote the autobiography "My Wonderful World of Slapstick", having completed nearly 150 films in the span of his ground-breaking career. His last film appearance was A Funny Thing Happened on the Way to the Forum (1966) which premiered seven months after Keaton's death from the rapid onset of lung cancer. Since his death, Keaton's legacy is being discovered by new generations of viewers every day, many of his films are available on YouTube, DVD and Blu-ray, where he, like all gold-gilded and beloved entertainers can live forever.- Producer
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Thomas Jeffrey Hanks was born in Concord, California, to Janet Marylyn (Frager), a hospital worker, and Amos Mefford Hanks, an itinerant cook. His mother's family, originally surnamed "Fraga", was entirely Portuguese, while his father was of mostly English ancestry. Tom grew up in what he has called a "fractured" family. He moved around a great deal after his parents' divorce, living with a succession of step-families. No problems, no alcoholism - just a confused childhood. He has no acting experience in college and credits the fact that he could not get cast in a college play with actually starting his career. He went downtown, and auditioned for a community theater play, was invited by the director of that play to go to Cleveland, and there his acting career started.
Ron Howard was working on Splash (1983), a fantasy-comedy about a mermaid who falls in love with a business executive. Howard considered Hanks for the role of the main character's wisecracking brother, which eventually went to John Candy. Instead, Hanks landed the lead role and the film went on to become a surprise box office success, grossing more than $69 million. After several flops and a moderate success with the comedy Dragnet (1987), Hanks' stature in the film industry rose. The broad success with the fantasy-comedy Big (1988) established him as a major Hollywood talent, both as a box office draw and within the film industry as an actor. For his performance in the film, Hanks earned his first Academy Award nomination as Best Actor.
Hanks climbed back to the top again with his portrayal of a washed-up baseball legend turned manager in A League of Their Own (1992). Hanks has stated that his acting in earlier roles was not great, but that he subsequently improved. In an interview with Vanity Fair, Hanks noted his "modern era of movie making ... because enough self-discovery has gone on ... My work has become less pretentiously fake and over the top". This "modern era" began for Hanks, first with Sleepless in Seattle (1993) and then with Philadelphia (1993). The former was a blockbuster success about a widower who finds true love over the radio airwaves. Richard Schickel of Time magazine called his performance "charming", and most critics agreed that Hanks' portrayal ensured him a place among the premier romantic-comedy stars of his generation.
In Philadelphia, he played a gay lawyer with AIDS who sues his firm for discrimination. Hanks lost 35 pounds and thinned his hair in order to appear sickly for the role. In a review for People, Leah Rozen stated, "Above all, credit for Philadelphia's success belongs to Hanks, who makes sure that he plays a character, not a saint. He is flat-out terrific, giving a deeply felt, carefully nuanced performance that deserves an Oscar." Hanks won the 1993 Academy Award for Best Actor for his role in Philadelphia. During his acceptance speech, he revealed that his high school drama teacher Rawley Farnsworth and former classmate John Gilkerson, two people with whom he was close, were gay.
Hanks followed Philadelphia with the blockbuster Forrest Gump (1994) which grossed a worldwide total of over $600 million at the box office. Hanks remarked: "When I read the script for Gump, I saw it as one of those kind of grand, hopeful movies that the audience can go to and feel ... some hope for their lot and their position in life ... I got that from the movies a hundred million times when I was a kid. I still do." Hanks won his second Best Actor Academy Award for his role in Forrest Gump, becoming only the second actor to have accomplished the feat of winning consecutive Best Actor Oscars.
Hanks' next role - astronaut and commander Jim Lovell, in the docudrama Apollo 13 (1995) - reunited him with Ron Howard. Critics generally applauded the film and the performances of the entire cast, which included actors Kevin Bacon, Bill Paxton, Gary Sinise, Ed Harris, and Kathleen Quinlan. The movie also earned nine Academy Award nominations, winning two. Later that year, Hanks starred in Disney/Pixar's computer-animated film Toy Story (1995), as the voice of Sheriff Woody. A year later, he made his directing debut with the musical comedy That Thing You Do! (1996) about the rise and fall of a 1960s pop group, also playing the role of a music producer.
As of 2022, Hanks is 66-years-old. He has never retired from acting, and has remained active in the film industry for more than four decades.- Actor
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Born in Burchard, Nebraska, USA to Elizabeth Fraser and J. Darcie 'Foxy' Lloyd who fought constantly and soon divorced (at the time a rare event), Harold Clayton Lloyd was nominally educated in Denver and San Diego high schools and received his stage training at the School of Dramatic Art (San Diego). Lloyd grew up far more attached to his footloose, chronically unemployed father than his overbearing mother.
He made his stage debut at age 12 as "Little Abe" in "Tess of d'Ubervilles" with the Burwood Stock company of Omaha. Harold and his father moved to California as a result of a fortuitous accident settlement in 1913. Foxy bought a pool hall (that soon failed) while Harold attended high school. The pair were soon broke when his father suggested he try out for a job on a movie being shot at San Diego's Pan American Exposition by the Edison Company. On the set he first met Hal Roach who would be the most influential person in his professional life. Roach (admittedly a poor actor) told Lloyd that someday he'd be a movie producer and he'd make him his star.
Soon afterward, Roach inherited enough money to begin a small production company (Phun Philms, quickly renamed Rolin, with a partner who he soon bought out) and contacted Lloyd to star in the kinds of films he wanted to make: comedies. On the basis of a handful of self-produced shorts starring Lloyd, he managed to land a production contract with the U.S. branch of the French firm, Pathe, who literally paid Roach by the exposed foot of film on what films were accepted. Things were touch and go in the beginning, with improvised scenarios, outdoor shoots meaning Pathe rejected several of their first efforts, resulting in missed paydays. During his first contract with Roach he appeared in "Will E. Work" and then "Lonesome Luke" comedies, essentially cheap variations of Charles Chaplin's Little Tramp character. He abandoned the character in disgust in late 1917, adopting his "glasses" persona, an average young man capable of conquering any obstacle thrown at him. He began cementing his new image with Over the Fence (1917), that ushered in a prolific number of shorts through late 1921, often releasing 3 per month. In his "glasses" personification, Lloyd's popularity grew exponentially with each new release, but Lloyd rapidly grew dissatisfied with his relationship with his producer. Roach and Lloyd fought constantly; it's not so much that he didn't want to work for Roach, he didn't want to work for anyone - a trait he himself recognized from early on. To be fair, Roach was increasingly preoccupied with other stars (The "Our Gang" series was launched to huge success in 1922 and he also produced ''Snub Pollard" shorts, among others) and although he would always resent Lloyd's attitude and ultimate defection to Paramount, the loss of his major star wouldn't financially cripple him. Lloyd had his own quirks; he fell in love with his first co-star Bebe Daniels, who left him after it became apparent he was unable to make a commitment (however the two would remain lifelong friends). Lloyd, in his own way was decidedly complex: he could be professionally generous (often allowing debatably deserving directorial credit to members of his crew) while being notoriously cheap. Yet he practiced little financial self control in anything that concerned himself. Wildly superstitious, he engaged in strict rituals about dressing himself, leaving through the same doors as he entered, and expected his chauffeurs to know which streets were unlucky to traverse. As his finances improved with age he happily indulged himself with a myriad of hobbies that would include breeding Great Danes, amassing cars, bowling, photography, womanizing, and high-fidelity stereo systems. He was open minded about homosexuals while being practically Victorian in his ideas about raising his daughters. He had an enormous libido and rumors abounded about illegitimate children and according to Roach, chronic bouts with VD. Most traumatically, he suffered the loss of his right thumb and forefinger in an accidental prop bomb explosion on August 14, 1919, just as his career was starting to take off. Lloyd would go to great lengths to hide his disability, spending thousands on flesh-colored prosthetic gloves and hiding his right hand whenever knowingly photographed, even long after his career ended. Upon his recovery he completed work on Haunted Spooks (1920) and successfully renegotiated his contract with Pathe, which began a career ascent that would rival Chaplin's (indeed, Lloyd was more successful, considering grosses on total output as Chaplin's output soon dwindled by comparison). Lloyd began feature film production with the 4-reel A Sailor-Made Man (1921). It began as a 2-reel short but contained, in his words, "so much good stuff we were loathe to take any of it out." It became a huge hit and continued to release hit features with ever increasing grosses but split with Hal Roach (who retained lucrative re-issue rights to his earlier films) after completing The Freshman (1925), one of his finest films. Pathe's U.S. operations quickly unraveled after their U.S. representative, Paul Brunet returned to France, and Lloyd made a decisive move (Roach himself would also leave Pathe, opting for a distribution deal with MGM - Mack Sennett, also distributed by Pathe, would be financially ruined). After weighing various attractive offers, Lloyd signed an advantageous contract with Paramount and racked up another hit with For Heaven's Sake (1926), one of his weakest silent features, yet it grossed an incredible $2.591 million, nearly equaling "The Freshman" and astonishing even himself.
Lloyd could do no wrong throughout the 1920s, he consistently earned at or near $1.5 million per film with his Paramount contract, and seemed invincible. He married his second co-star Mildred Davis on February 10, 1923 and she retired from acting (replaced by Jobyna Ralston). He built a huge 32-room mansion he christened, "Greenacres" that took over 3 years to complete and the couple eventually had 3 children. His final silent film, Speedy (1928), shot on location in New York, was one of the few major hits of the sound transition period and remains (as do most of Lloyd's films) thoroughly enjoyable today. The advent of sound proved problematic for the comedian. His films were gag-driven and his writing team was wholly unaccustomed to converting their type of comedy into dialog. While his first sound effort (began as a silent), Welcome Danger (1929) grossed nearly $3 million, by any standard it's a bad film, and marked a serious decline in Lloyd's screen persona; he became a talking comedian. Ironically, as bad as the film is, it would prove to be the last solid hit of his career. His next talkie, Feet First (1930), included a climb reminiscent (but technically superior to that) of his hit Safety Last! (1923), only being in sound, it contained every grunt and groan and proved painful to watch. With a gross of less that $1 million, Lloyd would see slightly over $300,000, his smallest feature paycheck to date, and it became clear he was in trouble. Lloyd fought back with Movie Crazy (1932). Generally regarded as his finest talkie, it grossed even less than "Feet First." Lloyd left Paramount for Fox and suffered his first outright flop with his next feature, The Cat's-Paw (1934), which grossed $693,000 against a negative cost of $617,000 ---resulting in red ink on a net basis. The miracle Harold Lloyd needed to salvage his career would never happen, but he refused to go down without a fight. Amazingly, the public was oblivious to his decline, and he was widely considered as one of the few silent comedy stars to have made a successful transition through the first decade of sound. But to those within the industry, the numbers didn't add up. Back at Paramount on a 2-movie deal, Lloyd starred in The Milky Way (1936), a better-than-average comedy that pulled a world-wide gross of $1.179 million, but it had production budget exceeding $1 million, resulting in a $250,000 loss for the studio. Paramount was livid, demanding a personal guarantee from Lloyd on anything over $600,000 for his next film, Professor Beware (1938). The comedian soon discovered he couldn't complete the film within the required budget and did something unprecedented --for him at least-- he invested his own money. The final production cost was $820,275 - and it grossed a mere $796,385 - and as a result of a complex payment deal, Lloyd ended up personally losing $119,400 on its initial release (he would eventually recoup the bulk of his losses over the next 35 years). At the relatively young age of 45, Harold Lloyd's Hollywood career was effectively over. Still immensely wealthy from a conservative investment strategy, and always hyperactive, he sought out ways to occupy his time, dragging his kids on marathon movie nights all across Los Angeles and falling back on his many hobbies. Foxy, who had handled the bulk of his correspondence (almost all Lloyd's pre-1938 autographs were actually signed by Foxy) and had carefully documented his press clippings since his acting career had began, retired to Palm Springs in 1938, leaving a void in Lloyd's life. He produced two pictures for RKO, A Girl, a Guy, and a Gob (1941), and a Kay Kyser vehicle, My Favorite Spy (1942) which must have looked good on paper but went nowhere at the box office. This ended his career as a producer. He would sign a $25,000 deal with Columbia in 1943 for a comeback project that never materialized. In 1944, Lloyd was approached by director Preston Sturges who envisioned a first-rate vehicle for him entitled, The Sin of Harold Diddlebock (1947). The production launched Sturges' new California Pictures, was financed by Howard Hughes, and initially released by United Artists. It proved to be a nightmare for everyone concerned. Its $1.7 million production cost proved to be an insurmountable obstacle preventing it from profitability and the eccentric Hughes withdrew it from circulation, later retitling it "Mad Wednesday," re-editing and re-releasing it as an RKO feature in 1951 to an even more dismal box office. Lloyd would also zealously protect ownership of his material and was quite litigious. He successfully sued MGM over their unauthorized poaching of his gags on a Joan Davis vehicle, She Gets Her Man (1945) (sadly an action that put the final nail in the professional coffin of the hopelessly alcoholic Clyde Bruckman). With his career at an end, Harold renewed his interest in photography and became involved with color film experiments. Some of the earliest 2 color Technicolor tests had been shot at Greenacres in 1929. In the late 1940s he became fascinated with color 3D still photography and often visited friends on film sets. Throughout the late 40s and well into the 1960s Lloyd indulged himself with glamor models. At his death, his collection of 3D stills numbered 250,000 (the vast majority of which are nudes). Recently his granddaughter published an elaborate book of photos carefully excised from the collection. In the late 1940s Lloyd became an active member of the Shriners (he'd joined originally in 1924) and an effective administrator for their Los Angeles crippled children's hospital. Harold is reported to be the only actor that owned most of the films he appeared in (sadly many of the earliest ones were destroyed in a nitrate fire in a vault at Greenacres in 1943). This ownership gave him the ability to withhold his films from being shown on television; Lloyd feared incorrect projection speed and commercials would damage his reputation. As a result, a generation of film fans saw very few of his films and his reputation was diminished. He did release 2 compilation films, of which the first, World of Comedy (1962) was very successful. Mildred descended into alcoholism in the 1950s and died in 1969. Lloyd occupied his time with extensive travel (he thoroughly enjoyed speaking engagements where he could interact with students on the subject of silent film) and continued his pathological passion for his hobbies through the end of his life. He became interested in high fidelity stereo systems and habitually ordered several record companies' entire annual catalogs, eventually amassing an LP collection rivaling most record stores. He enjoyed cranking music to volumes that caused the inlaid gold leaf on Greenacres' ceilings to rain down on anyone below. Conversely, he balked at modernizing anything inside the mansion, seeing improvements and redecorating as things that would survive him, and thus a complete waste of money. Lloyd was diagnosed with a recurrence of cancer by his brother-in-law, Dr. John Davis (Jack Davis, who starred in early "Our Gang" shorts) and died on March 8, 1971. His son, Harold Lloyd Jr. was an alcoholic homosexual and died soon afterward. Although Lloyd left an estate valued at $12 million (in 1971 dollars), he failed to make a provision for the maintenance of Greenacres, a blunder that would seriously complicate his estate. His granddaughter Suzanne Lloyd has been largely responsible for restoring his reputation of late, working to preserve his surviving films; many have been issued on HBO Video, Thames Video. Several have been superbly restored with new musical accompaniments and are shown periodically on TCM.- Actor
- Producer
- Writer
Jack Nicholson, an American actor, producer, director and screenwriter, is a three-time Academy Award winner and twelve-time nominee. Nicholson is also notable for being one of two actors - the other being Michael Caine - who have received an Oscar nomination in every decade from the '60s through the '00s.
Nicholson was born on April 22, 1937, in Neptune, New Jersey. He was raised believing that his grandmother was his mother, and that his mother, June Frances Nicholson, a showgirl, was his older sister. He discovered the truth in 1975 from a Time magazine journalist who was researching a profile on him. His real father is believed to have been either Donald Furcillo, an Italian American showman, or Eddie King (Edgar Kirschfeld), born in Latvia and also in show business. Jack's mother's ancestry was Irish, and smaller amounts of English, German, Scottish, and Welsh.
Nicholson made his film debut in a B-movie titled The Cry Baby Killer (1958). His rise in Hollywood was far from meteoric, and for years, he sustained his career with guest spots in television series and a number of Roger Corman films, including The Little Shop of Horrors (1960).
Nicholson's first turn in the director's chair was for Drive, He Said (1971). Before that, he wrote the screenplay for The Trip (1967), and co-wrote Head (1968), a vehicle for The Monkees. His big break came with Easy Rider (1969) and his portrayal of liquor-soaked attorney George Hanson, which earned Nicholson his first Oscar nomination. Nicholson's film career took off in the 1970s with a definitive performance in Five Easy Pieces (1970). Nicholson's other notable work during this period includes leading roles in Roman Polanski's noir masterpiece Chinatown (1974) and One Flew Over the Cuckoo's Nest (1975), for which he won his first Best Actor Oscar.
The 1980s kicked off with another career-defining role for Nicholson as Jack Torrance in Stanley Kubrick's adaptation of Stephen King's novel The Shining (1980). A string of well-received films followed, including Terms of Endearment (1983), which earned Nicholson his second Oscar; Prizzi's Honor (1985), and The Witches of Eastwick (1987). He portrayed another renowned villain, The Joker, in Tim Burton's Batman (1989). In the 1990s, he starred in such varied films as A Few Good Men (1992), for which he received another Oscar nomination, and a dual role in Mars Attacks! (1996).
Although a glimpse at the darker side of Nicholson's acting range reappeared in The Departed (2006), the actor's most recent roles highlight the physical and emotional complications one faces late in life. The most notable of these is the unapologetically misanthropic Melvin Udall in As Good as It Gets (1997), for which he won his third Oscar. Shades of this persona are apparent in About Schmidt (2002), Something's Gotta Give (2003), and The Bucket List (2007). In addition to his Academy Awards and Oscar nominations, Nicholson has seven Golden Globe Awards, and received a Kennedy Center Honor in 2001. He also became one of the youngest actors to receive the American Film Institute's Life Achievement award in 1994.
Nicholson has six children by five different women: Jennifer Nicholson (b. 1963) from his only marriage to Sandra Knight, which ended in 1966; Caleb Goddard (b. 1970) with Five Easy Pieces (1970) co-star Susan Anspach, who was automatically adopted by Anspach's then-husband Mark Goddard; Honey Hollman (b. 1982) with Danish supermodel Winnie Hollman; Lorraine Nicholson (b. 1990) and Ray Nicholson (b. 1992) with minor actress Rebecca Broussard; and Tessa Gourin (b. 1994) with real estate agent Jennine Marie Gourin. Nicholson's longest relationship was the 17 nonmonogamous years he spent with Anjelica Huston; this ended when Broussard announced she was pregnant with his child.