Little Big Man 1970 premiere
Tuesday December 22nd, Hollywood Pacific Theater 6433 Hollywood Blvd, Los Angeles, CA 90028
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Dustin Lee Hoffman was born in Los Angeles, California, to Lillian (Gold) and Harry Hoffman, who was a furniture salesman and prop supervisor for Columbia Pictures. He was raised in a Jewish family (from Ukraine, Russia-Poland, and Romania). Hoffman graduated from Los Angeles High School in 1955, and went to Santa Monica City College, where he dropped out after a year due to bad grades. But before he did, he took an acting course because he was told that "nobody flunks acting." Also received some training at Los Angeles Conservatory of Music. Decided to go into acting because he did not want to work or go into the service. Trained at The Pasadena Playhouse for two years.- Actress
- Producer
- Director
An icy, elegant blonde with a knack for playing complex and strong-willed female leads, enormously popular actress Faye Dunaway starred in several films which defined what many would come to call Hollywood's "second Golden Age." During her tenure at the top of the box office, she was a more than capable match for some of the biggest macho stars of the 1970s. Then an overwrought turn in the disastrous biopic Mommie Dearest (1981) effectively derailed her career - but, at the same time, made her a bit of a camp favorite in the gay community - though she's been afforded infrequent opportunities worthy of her talent since that unfortunate halt.
Born prematurely on Jan. 14, 1941 in Bascom, FL, Dorothy Faye Dunaway was the daughter of MacDowell Dunaway, Jr., a career Army officer, and his wife, Grace April Smith. After a stint as a teenaged beauty queen in Florida, she intended to pursue education at the University of Florida, but switched to acting, earning her degree from Boston University in 1962. She was given the enviable task of choosing between a Fulbright Scholarship to the London Academy of Music and Dramatic Arts or a role in the Broadway production of "A Man For All Seasons" as a member of the American National Theatre and Academy. She picked the latter, enjoying a fruitful stage career for the next two years, which was capped by appearances in "After the Fall" and "Hogan's Goat." The latter - an off-Broadway production in 1967 - required Dunaway to tumble down a flight of steps in every performance, earning her a screen debut in the wan counterculture comedy The Happening (1967). Just five months after its release, however, she was wowing audiences across the country as Depression-era bank robber Bonnie Parker in Arthur Penn's controversial Bonnie and Clyde (1967). Her turn as the naïve but trigger-happy and sexually aggressive Parker earned her Academy Award and Golden Globe nominations, and provided a direct route to the front of the line for Hollywood leading ladies in an unbelievably short amount of time.
Dunaway followed this success with another hit, The Thomas Crown Affair (1968), in which her coolly sensual insurance investigator generated considerable sparks with playboy and jewel thief Steve McQueen. She then bounced between arthouse efforts like Puzzle of a Downfall Child (1970), directed by her ex-boyfriend, photographer Jerry Schatzberg, and the revisionist Western 'Doc' (1971), as well as big-budget efforts like Little Big Man (1970), which cast her as a predatory preacher's wife with designs on Dustin Hoffman's reluctant Native American hero. Dunaway also balanced these projects with several well-regarded theatrical productions, including a 1972-73 stint as Blanche Du Bois in "A Streetcar Named Desire," and notable TV-movies like The Woman I Love (1972), which cast her as the Duchess of Windsor, and TV broadcasts of Hogan's Goat (1971) and After the Fall (1974). But her turn as the duplicitous Lady De Winter in Richard Lester's splashy, slapstick take on The Three Musketeers (1973) and its sequel The Four Musketeers: Milady's Revenge (1974) preceded a long period of critical and box office hits, starting with her masterful performance in Chinatown (1974).
Dunaway's turn as Evelyn Mulwray, the mysterious woman who draws detective Jake Gittes (Jack Nicholson) into a dark and complicated web of murder, incest, and catastrophic business deals, seemed the epitome of every femme fatale to ever stride across a chiaroscuro-lit scene in classic noir. But Dunaway also found the horribly wounded core of her character as well, and turned Evelyn from a pastiche to a full-blown and emotionally resonant human being. Critics and award groups rushed to nominate Dunaway for the role, and she netted her second Academy Award nod, as well as Golden Globe and BAFTA nominations. Dunaway had fought hard for her performance - her battles with director Roman Polanski were no secret - but sadly, she lost the Oscar to Ellen Burstyn for Alice Doesn't Live Here Anymore (1974). However, it would be Dunaway's performance which stood the test of time.
High-gloss turns in The Towering Inferno (1974) and Sydney Pollack's political thriller Three Days of the Condor (1975) preceded one of her best television performances; that of Depression-era radio preacher Aimee Semple MacPherson in The Disappearance of Aimee (1976). Even more startling was her sterling role in Network (1976), Paddy Chayefsky's blistering take on the television industry. Dunaway pulled out all the stops as an executive on the rise who stops at nothing to advance her career - even bedding veteran producer William Holden. Critics again rose in unison to praise Dunaway, and she finally netted an Oscar for the role, as well as a Golden Globe.
Surprisingly, Dunaway's career began to falter after her Oscar win. She was effective as a fashion photographer who experiences disturbing visions in Eyes of Laura Mars (1978), but was wasted in thankless roles as the dissatisfied ex of washed-up boxer Jon Voight in The Champ (1979) and wife to Frank Sinatra's detective in The First Deadly Sin (1980). And then came Mommie Dearest (1981), director Frank Perry's biopic of actress Joan Crawford based on the tell-all book by her daughter Christina Crawford. Crawford herself had praised Dunaway in the early stages of her career, and while some critics gave positive reviews to her performance - in particular, the extent to which she physically transformed herself into Crawford - most fixated on the hysterical dialogue and garish scenes of child abuse. Clips of Dunaway as Crawford bellowing "No more wire hangers!" became immediate laugh-getters on late-night television, and a substantial gay following rose up in response to the film's high camp value. Dunaway, however, found none of the response amusing, and later admitted her regret in taking the role. Whether laughable or pure genius, no one could deny that Dunaway threw her everything into the role. The film's continued cult success proved she had succeeded in becoming Crawford.
The fallout from "Mommie Dearest" obscured Dunaway's follow-up projects, which included the title role in the TV-movie Evita Peron (1981) and a return to Broadway in 1982's "The Curse of an Aching Heart". Discouraged, she moved to London with her second husband, photographer Terry O'Neill, who had also served as a producer on "Mommie Dearest." For the next few years, Dunaway appeared sporadically in films, most of which underscored her newly minted status as a camp icon. The Wicked Lady (1983) was an absurd, near-softcore period drama by Michael Winner, with Dunaway as an 18th-century highway robber. Fans of her early dramatic work were similarly aghast by her turn as a shrieking witch battling Helen Slater's Girl of Steel in Supergirl (1984). Only a Golden Globe-winning appearance in the cumbersome miniseries Ellis Island (1984) offered any respite from the negative press which now continued to follow her.
Dunaway returned to the United States in 1987 following her divorce from O'Neill, and attempted to rebuild her career and reputation by appearing in several independent dramas. She was widely praised for her performance as a once-glamorous woman felled by alcohol in Barbet Schroeder's Barfly (1987), and served as executive producer and star of Cold Sassy Tree (1989), a TV adaptation of the popular novel by Olive Ann Burns about an independent-minded woman who romances a recently widowed store owner (Richard Widmark). Dunaway was exceptionally busy for the remainder of the decade in both major Hollywood features and independent fare, though her strong women now occasionally sported an unfortunate shrill side. She was Robert Duvall's frosty wife in the dystopian thriller The Handmaid's Tale (1990) and contributed a vocal cameo as Evelyn Mulwray in The Two Jakes (1990), the ill-fated sequel to "Chinatown". Other notable performances came as the unhappy wife of psychiatrist Marlon Brando in Don Juan DeMarco (1994), as the daughter of imprisoned Klansman Gene Hackman in The Chamber (1996), and as a bartender caught in the middle of a hostage standoff in Kevin Spacey's Albino Alligator (1996). She later received Screen Actors Guild and Golden Globe nominations as the matron of a wealthy Jewish family in turmoil in The Twilight of the Golds (1996). Perhaps her best turn of the decade was as a seductive murderess who attempts to sway the unflappable Lt. Columbo (Peter Falk) in It's All in the Game (1993), which earned her a 1994 Emmy. She won her third Golden Globe as modeling agency head Wilhelmina Cooper in the biopic Gia (1998), starring Angelina Jolie as doomed model Gia Carangi.
The 1990s were also not without incident for Dunaway. She was embroiled in an ugly lawsuit against Andrew Lloyd Webber after he closed a Los Angeles production of his musical version of "Sunset Blvd." with claims that she was unable to sing to his standards. The suit was later settled out of court for an undisclosed sum. A national tour of Terrence McNally's "Master Class", about the legendary opera diva Maria Callas, ended with her involvement in a suit over legal rights to the play. The project was expected to become her next great film role but remained uncompleted more than a decade after the 1996 tour. Her attempt at sitcom stardom in It Had to Be You (1993), co-starring Robert Urich, was met with universal disinterest, and the project was announced as being retooled without Dunaway prior to its cancellation.
Dunaway's schedule remained busy from 2000 onward, mostly in television and small independent features. She co-starred with Mark Wahlberg and Joaquin Phoenix as the wife of career criminal James Caan in The Yards (2000), then made her directorial debut with the short The Yellow Bird (2001), based on the play by Tennessee Williams. Younger audiences had their first taste of Dunaway's particular star power as Ian Somerhalder's mother in The Rules of Attraction (2002), Roger Avary's amped-up adaptation of the Bret Easton Ellis novel, before Dunaway turned up the heat as a merciless celebrity judge on the reality series The Starlet (2005).
Dunaway penned her memoirs, Looking For Gatsby, in 1995, one year before receiving her star on the Hollywood Walk of Fame. Attached throughout her professional career to intriguing men ranging from Lenny Bruce to Marcello Mastroianni, she was twice married; her first husband was singer Peter Wolf of the popular seventies rock group, The J. Geils Band. Liam O'Neill, her son by second husband Terry, followed in her footsteps with minor acting roles beginning in 2004. His father later dropped a bombshell in 2003 by revealing that Liam was not their biological son, but was adopted - a claim that Dunaway had previously denied.
A series of occasional roles in little-seen films followed, but Dunaway was unexpectedly thrust back into the public eye at the 2017 Academy Awards. Reunited with Warren Beatty on the occasion of the 50th anniversary of "Bonnie and Clyde," the pair were tapped to present the Best Picture award to close the night. Before proceeding onstage, Beatty was mistakenly handed a backup envelope for Best Actress in a Leading Role, which had already been won by Emma Stone for La La Land (2016). Unsure what to do when he opened the envelope and discovered the error, Beatty stalled for time and showed the card to Dunaway; misunderstanding his intent, the actress announced that the Best Picture Oscar went to "La La Land." During producer Jordan Horowitz's acceptance speech, he was informed that the actual Best Picture winner was Moonlight (2016). During the onstage chaos that ensued, Beatty delivered a heartfelt explanation and apology for the snafu while undergoing good-natured ribbing from host Jimmy Kimmel.
After her break from acting and the memorable Oscars moment, Dunaway is now back in the saddle as an actress working more frequently in her 70s. Over the past year, she has appeared in three films, starring in The Bye Bye Man (2017), The Case for Christ (2017), and Inconceivable (2017), with more projects expected to be on the way. The icon also fronts Gucci's summer 2018 ad campaign for their Sylvie handbag and has a Broadway show scheduled for 2019.- Actor
- Soundtrack
Actor, author, and musician Chief Dan George was born in present-day North Vancouver as Geswanouth Slahoot (later anglicized as 'Dan Slaholt'), the son of a tribal chief on Burrard Indian Reserve Nº. 3. He is the only Aboriginal actor in Canadian history to date with the right to use the title "Chief", serving as leader of the Squamish First Nation of Burrard Inlet from 1951-63, and retained the honorary title after his term ended. His last name was changed to George when at age 5 he entered a mission boarding school where the use of his native language was discouraged, if not forbidden.
Until 1959, he had worked as a longshoreman, logger, bus driver, and itinerant musician. After spending much of his early life as a longshoreman, a construction worker, and a school-bus driver, Chief Dan George auditioned for the role of Ol' Antoine on Cariboo Country (1960), a CBC series, and won the part. He made his screen debut at age 65. On the strength of his performance in the series, and after playing the same part in Smith! (1969), a Disney adaptation of one of the show's episodes based on "Breaking Smith's Quarterhorse", a novella by Paul St. Pierre, and starring Glenn Ford, he was asked to play "Old Lodge Skins" in Little Big Man (1970). This role led to an Academy Award nomination for Best Supporting Actor in 1970. He continued to appear in films and became an accomplished stage actor. He died in 1981 on the same Indian reserve where he was born in North Vancouver at age 82.- Martin Henry Balsam was born on November 4, 1919 in the Bronx, New York City, to Lillian (Weinstein) and Albert Balsam, a manufacturer of women's sportswear. He was the first-born child. His father was a Russian Jewish immigrant, and his mother was born in New York, to Russian Jewish parents. Martin caught the acting bug in high school where he participated in the drama club. After high school, he continued his interest in acting by attending Manhattan's progressive New School. When World War II broke out, Martin was called to service in his early twenties. After the war, he was lucky to secure a position as an usher at Radio City Music Hall in New York City. By 1947, he was honing his craft at the Actors Studio, run at that time by Elia Kazan and Lee Strasberg. His time at the Actors Studio in New York City allowed him training in the famous Stanislavsky method. Despite his excellent training, he had to prove himself, just like any up and coming young actor. He began on Broadway in the late 1940s. But, it was not until 1951 that he experienced real success. That play was Tennessee Williams' "The Rose Tattoo". After his Broadway success, he had a few minor television roles before his big break arrived when he joined the cast of On the Waterfront (1954). In the 1950s, Martin had many television roles. He had recurring roles on some of the most popular television series of that time, including The United States Steel Hour (1953), The Philco Television Playhouse (1948), Goodyear Playhouse (1951) and Studio One (1948). In 1957, he was able to prove himself on the big-screen once again, with a prominent role in 12 Angry Men (1957), directed by Sidney Lumet and starring Henry Fonda. All of Martin's television work in the 1950s did not go to waste. While starring on an episode of Alfred Hitchcock Presents (1955), Hitchcock was so impressed by his work, that he offered him a key supporting role of Detective Milton Arbogast in Psycho (1960). His work with Hitchcock opened him up to a world of other acting opportunities. Many strong movie roles came his way in the 1960s, including parts in Breakfast at Tiffany's (1961), Cape Fear (1962) and The Carpetbaggers (1964). One of the proudest moments in his life was when he received an Academy Award for Best Supporting Actor for A Thousand Clowns (1965). It was soon after that he began accepting roles in European movies. He soon developed a love for Italy, and lived there most of his remaining years. He acted in over a dozen Italian movies and spent his later life traveling between Hollywood and Europe for his many roles. After a career that spanned more than fifty years, Martin Balsam died of natural causes in his beloved Italy at age 76. He passed away of a stroke at a hotel in Rome called Residenza di Repetta. He was survived by his third wife Irene Miller and three children, Adam, Zoe and Talia.
- Actor
- Soundtrack
Originally a student of playwriting at Columbia University, Richard Mulligan began his acting career in regional theater and soon after made his Broadway debut in the Pulitzer Prize-winning play "All the Way Home". In addition to his continuing Broadway career, Mulligan had successfully transferred his unique comedic talents to film and television. On the big screen, he had appeared in such films as Little Big Man (1970), The Big Bus (1976), Teachers (1984) and The Heavenly Kid (1985). He had also performed in a number of Blake Edwards' films, including S.O.B. (1981), Trail of the Pink Panther (1982), Micki + Maude (1984) and A Fine Mess (1986). Mulligan had made numerous guest-starring television appearances, but it was his role as Burt Campbell in Witt-Thomas-Harris' offbeat sitcom Soap (1977) that earned him his first Emmy Award. He also starred in the short-lived sitcom Reggie (1983). His movie-of-the-week and miniseries credits include Pueblo (1973), Poker Alice (1987), Harvey (1996) and the acclaimed Guess Who's Coming for Christmas? (1990) with Beau Bridges. He was the brother of director Robert Mulligan.- Actor
- Director
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Jeff Corey was a film and television character actor, as well as one of the top acting teachers in America.
Corey was born Arthur Zwerling on August 10, 1914 in New York City, New York, to Mary (Peskin), a Russian Jewish immigrant, and Nathan Zwerling, an Austrian Jewish immigrant. He was an indifferent student, but after taking a drama class in high school, young Corey became hooked. His talent earned him a scholarship to the Feagin School of Dramatic Arts, the top acting school in New York City at the time. Corey then became a professional actor, a career choice which saved him from a life selling sewing machines, he later said.
His first gig after acting school was with a Shakespearean repertory company, after which he became a member of a traveling troupe that entertained children. After Leslie Howard closed his Broadway production of Hamlet in December 1936, he took the play on the road with Corey cast as Rosencrantz in 1937. In 1939, Corey appeared as part of the Federal Theater Project's (FTP) Living Newspaper dramatic showcase in the Life and Death of an American, co-starring with Arthur Kennedy, and featuring the music of Alex North. He made his film debut in a bit part in the Federal Theater's sole movie production, ...One Third of a Nation... (1939). Starring Sylvia Sidney, Leif Erickson and future Oscar-winning director Sidney Lumet, the movie, which was released by Paramount, was a progressive exegesis on the hazards of tenement slum conditions. Congress terminated FTP funding on June 30, 1939, mainly due to objections to the leftist political tones of many FTP productions (see Tim Robbins' movie Cradle Will Rock (1999) about the pressures faced by the FTP in 1939).
In 1940, Corey, who had married his wife Hope in 1938, moved to Hollywood, where he appeared in studio productions through 1943, including The Devil and Daniel Webster (1941), My Friend Flicka (1943) and Joan of Arc (1948). He also had a hand in establishing the Actors Lab, where he appeared in a wide variety of plays, including "Abe Lincoln in Illinois", "Miss Julie" and "Prometheus". He also produced "Juno and the Paycock" for the Lab. He joined the United States Navy Photographic Service in 1943 and was assigned to the aircraft carrier Yorktown as a motion picture combat photographer. He earned three citations while serving during the war, including one for shooting footage on the Yorktown during a kamikaze attack on the ship. The citation, which was awarded in October 1945, read: "His sequence of a Kamikaze attempt on the Carrier Yorktown, done in the face of grave danger, is one of the great picture sequences of the war in the Pacific, and reflects the highest credit upon Corey and the U.S. Navy Photographic Service."
After the war, Corey returned to Hollywood and resumed his acting career, specializing in character parts and playing heavies in films such as The Killers (1946) and Brute Force (1947), both of which starred another returning war vet, Burt Lancaster. His appearance as the psychiatrist in Home of the Brave (1949), one of his best screen performances, promised a long and productive career in Hollywood, but the first phase of his cinema career was cut short in 1951 when he was subpoenaed to appear before the House Committee on Un-American Activities (HUAC) after being named as a former Communist Party member by actor Marc Lawrence.
HUAC had scheduled hearings in Los Angeles as part of its crusade to ferret out Communist influence in Hollywood. Appearing before HUAC in Los Angeles in September 1951, the 37-year-old Corey refused to testify, instead invoking his 5th Amendment rights. The movie industry ruled that anyone invoking their constitutional right not to testify would be blacklisted, and Corey was, missing out on an entire decade of work in films and television during the 1950s. Ironically, Lawrence, whom Corey despised for the rest of his life, pointing out that he had remained stateside on a health deferment while Corey risked his life during the war, was virtually absent from American films and television during the same decade, having to make his living in Italy along with American expatriates who had been blacklisted.
In the book on Hollywood blacklistees "Tender Comrades", Corey explained that he had been a member of the Communist Party, and that while he no longer was in 1951, he could not in good conscience turn informer. "Most of us were retired reds," Corey said. "We had left it, at least I had, years before. The only issue was, did you want to just give them their token names so you could continue your career, or not? I had no impulse to defend a political point of view that no longer interested me particularly. They just wanted two new names so they could hand out more subpoenas."
After being blacklisted, Corey used his G.I. Bill benefits to study speech therapy at UCLA while supporting his family as a common laborer. At the request of a fellow student, Corey organized a class in speech that he taught in the garage of his home in Hollywood Hills home. He expanded his curriculum to acting, accepting $10 a month in "tuition" per month from each student that allowed them to attend weekly classes. Eventually, he expanded the garage to create a small theater where his students performed scenes. Corey's reputation as a teacher grew, and by the mid-1950s, he had become the premier acting coach in Hollywood. Although studios refused to hire the blacklisted Corey as an actor, they did send contract players to study with him.
Corey's class, which became known as the Professional Actors Workshop, attracted directors, screenwriters and established actors seeking insight into the craft. Corey's Workshop has been described by the National Observer as "A major influence in the motion picture industry." Corey was a Stanislavskian teaching the popular Method technique of sense-memory popularized by such other acting gurus as Lee Strasberg and Stella Adler, which sought to tap into the actor's own emotions and psyche. Corey's own teaching technique was eclectic: He focused on one-on-one work with an individual actor, seeking through improvisational exercises to get the actor to tap into his/her subconscious and to use their imagination to come up with a theme that would elucidate their character.
His students included Robert Blake, pop singer Pat Boone, Richard Chamberlain, singer/actress Cher, director-producer Roger Corman, James Dean, Kirk Douglas, Jane Fonda, Peter Fonda, Michael Forest, Sally Kellerman, Irvin Kershner, Shirley Knight, Penny Marshall, Rita Moreno, Jack Nicholson, Leonard Nimoy, Anthony Perkins, Rob Reiner, singer/actress/director Barbra Streisand, future Academy Award-winning screenwriter Robert Towne and Robin Williams. Of Corey the teacher, three-time Oscar-winner Jack Nicholson said after he had become a major movie star, "Acting is life study, and Corey's classes got me into looking at life as an artist."
Corey also tutored experienced actors who had trouble with a role, or who just needed insight into playing a character. One of the already-established actors Corey tutored was three-time Oscar nominee Kirk Douglas, who came to Corey for help in playing the title role in Spartacus (1960). It was Douglas who, along with Otto Preminger, ended the blacklist by hiring Dalton Trumbo to write the screenplays for Spartacus (1960) and Exodus (1960), respectively. Two years after the Trumbo-penned films debuted on the big screen, Corey again was working in films and television. In 1962, he was cast in the film The Yellow Canary (1963) when one of his acting students, pop singer Pat Boone, pressured 20th-Century Fox into hiring him. Now off the blacklist, Corey became a busy character actor in movies and on television. Corey made his reputation as an actor's actor whom other actors loved to work with. Always good with actors, Corey also directed some episodes of television series.
In addition to his acting work, Corey continued teaching. He was Professor of Theater Arts at California State University in Northridge, and was artist in residence at Ball State, in Indiana, the University of Illinois in Bloomington, Chapman College's World Campus Afloat, the University of Texas in Austin, and at the Graduate School of Creative Writing at New York University. He also conducted acting seminars at Emory University in Atlanta, and for the Canadian Film Institute in Vancouver, British Columbia.
On August 16, 2002, six days after his 88th birthday, Corey died in a Santa Monica, California hospital, of complication from a fall. He was survived by his wife of 64 years, Hope, three daughters, and grandchildren.- Aimee Eccles was born on 1 January 1949 in Hong Kong. She is an actress, known for Little Big Man (1970), Pretty Maids All in a Row (1971) and Paradise Alley (1978).
- Actress
- Soundtrack
Kelly Jean Peters was born on 2 July 1940 in Columbus, Ohio, USA. She is an actress, known for Little Big Man (1970), Poltergeist II: The Other Side (1986) and Quincy M.E. (1976). She was previously married to Tim McIntire.- Carole Androsky was born on 10 November 1942 in Pittston, Pennsylvania, USA. She is an actress, known for Dante's Peak (1997), Little Big Man (1970) and Bewitched (2005).
- Robert Little Star was born in 1946 in Omaha, Nebraska, USA. He was an actor, known for Little Big Man (1970). He died in 1999 in Vermillion, South Dakota, USA.
- Actor
- Camera and Electrical Department
Cal Bellini was born on 9 June 1935 in Singapore. He was an actor, known for Little Big Man (1970), Kate McShane (1975) and Diagnosis: Unknown (1960). He was married to Vivian Cournoyer Bristow. He died on 9 April 2017 in California, USA.- He was David Thayer Hersey from an upper crust Winchester, Massachusetts family. After secondary school he began attending Harvard University. Along with several students he founded the Brattle Theatre Company in 1946. After working closely on Brattle with fellow Harvard graduates and his father,Thayer Frye Hersey, David took the stage name Thayer David in honor of his father.
Thayer David was tall and heavy-set with a prominent beetling brow and protruding lips (a somewhat intimidating demeanor) which inevitably bound him to character roles. But he had no false illusions about leading man roles and whatnot other than applying a consummate passion for being a good actor in those parts allotted him. To this he brought a forceful if pursed and imperious voice and a knack for developing voice characterizations to fit any part.
By late 1950 he was on Broadway in a revival of the comedy play "The Relapse" Through most the 1950s he was busy with theater roles rounded with returns to Broadway for the next two decades in some great dramas, including stepping in as a replacement to play Cardinal Wolsey in "A Man for All Seasons" (1961-63). Like many a trained actor looking beyond the stage, David saw the potential of the small screen as a new acting vehicle. By 1957 he had launched his TV career amid the television playhouse phenomenon which had been established by 1950. He would revisit perennially through most of the 1960s, but he had about the same time been discovered by filmdom as well.
His first role was in the quite well done Baby Face Nelson (1957), part of the body of serious dramas that Mickey Rooney (as the machine gun-happy 1930s gangster) was amassing since his early days as one of Hollywood's biggest juvenile stars. David next film had the clumsy and long forgotten title A Time to Love and a Time to Die (1958), but it was a much more substantial part with young John Gavin as German friends who become World War II officers and confront humanity versus the Nazi war mentality. As was usual with his roles, David was the veiled (if not overt) antagonist-always intellectual but with a brutish shadow. Within a year the chance to play a really melodramatic villain came with his casting in the film version of Journey to the Center of the Earth (1959) from the novel by the visionary French 19th century sci-fi author Jules Verne. Although the film substantially strayed from the novel, the latter plodded along, while the script was fast-paced and engaging. And where there was no villain except nature herself, the film had David as the self-serving-downright nasty - Count Saknussem. With James Mason heading the cast and-then-teen heartthrob Pat Boone drawing in as well a young female audience, the film and its special effects made for a rousing good time.
Into the 1960s David's opportunities focused most on television. And among these was a fad TV acting goal of being a guest super villain on the highly popular and inventive The Wild Wild West (1965 to 1969). David had the even better fortune of being cast in two episodes (1967 and 1969). In the meantime David had hit some more substantial TV pay dirt. The smash daytime horror soaper Dark Shadows had premiered in 1966, and David was in on the ground floor as perfect for several characters to emerge through the series run (1966 to 1971). He played seven characters in the course of the show, the most prominent being Professor T. Elliot Stokes. He reprised this role in the substantially more potent in-a-nutshell film version of the story House of Dark Shadows (1970), considered by horror aficionados as one of best blood and gore vampire romps. David returned in the studio-butchered and thus unsuccessful film sequel Night of Dark Shadows (1971) as his eighth characterization, the Reverend Strack. In all cases David was intimately involved and delighted in meshing makeup and costumes with the voices he invented for all these roles (most of which he developed) for the series.
If not from an already dependable track record, David's longevity on the series marked him as a veteran trooper in the casting halls of Hollywood. But he later recalled that his time invested in doing voice over commercials could often come close to DS production schedule conflicts. His commercial work marked the inevitable practical side of acting. Even the best known actors and actresses have stooped to such business over art, for the money is always good.
David was thereafter quite in demand through the decade of the 1970s in both film and TV. Although he might be best recalled from the era as the crooked fight manager in historic Rocky (1976), his most character of character roles was by far his Dragon in the Clint Eastwood adventure/thriller The Eiger Sanction (1975). Based on the novel by American author Rod Whitaker who used the pseudonym Trevanian to come off European, there is much name wordplay, for instance, Dragon's full name in the novel is Uras S. Dragon (say it fast). David's Dragon is head of CIA-like shadow hit unit which employed Eastwood's character, and Dragon is an extreme albino (can't tolerate normal environment). David gives him a rather strident rasping voice with a hint of menace that along with his nearly colorless eyes and figure bathed in the dramatic red light of an infrared-controlled environment easily makes him the most memorable character in the film.
David guest-starred on some of the most watched episodic fare of the 1970s, and he was especially busy between 1975 and 1977. Amid two to three films per year he made the rounds of TV production at the major studios. Universal had continued using his talents during this period when this contributor met and worked with Thayer David in early 1977. He was an engaging person who enjoyed good conversation - the more obscure the better - and a good cigar. Among outside pursuits he was also a rare book collector with varied interests and enjoyed entertaining at home.
A big man, he was nonetheless at that time overweight and the demands of production visibly put a strain on him - he looked ill. But an actor must work, and he carried on into the next year and lost some weight as well. It was then that Paramount television offered him a potentially great opportunity. This was the lead role in the TV pilot movie for a series on the preoccupied but brilliant, corpulent - and most important, rich - detective Nero Wolfe. The script was good, and Thayer lent his accumulated and considerable characterization talents to make Wolfe his own, although his loss of weight was now much more noticeable and was rumored to be cancer. The success of the TV pilot looked promising, as would the subsequent go-ahead for the series. But in one of the ironic twists of fate, Thayer David suddenly died of a heart attack, perhaps a complication of the purported advancing cancer - he was only 51 years old. The pilot was shelved for over a year, ending up premiering as a late night TV offering (Dec 1979). A Nero Wolfe series did appear (1981), but it was short-lived.
One can only wonder if Thayer David had remained hale. A Nero Wolfe series with such a dedicated and creative actor may have thrived with a long run - the Holy Grail of any actor - the dream of security and the opportunity to contribute thoroughly to on-going success. Oh well - the stuff of dreams - posterity has to settle for the filmed record of Thayer David as is - and that is a very substantial offering indeed. - Actor
- Additional Crew
Ruben Moreno was born on 29 March 1923 in El Paso, Texas, USA. He was an actor, known for Thirteen Days (2000), Little Big Man (1970) and Coffy (1973). He died on 22 September 2011 in Santa Clarita, California, USA.- Steve Shemayne was born on 29 April 1941 in Oklahoma, USA. He was an actor, known for Little Big Man (1970), Prophecy (1979) and Centennial (1978). He died on 19 January 1983 in Orange County, California, USA.
- Son of Edward & Nora Hickey. Best known as the ancient Mafia don in Prizzi's Honor (1985), Hickey had a long, distinguished career in film, television, and the stage. Began career as a child actor on the variety stage. Made Broadway debut as walk-on in George Bernard Shaw's "Saint Joan" (1951 production, starring Uta Hagen). Performed often during the golden age of television, including appearances on Studio One and Philco Playhouse. His most important contribution to the arts, however, remains his teaching career at the HB Studio in Greenwich Village, founded by Hagen and Herbert Berghof. George Segal, Sandy Dennis, and Barbra Streisand all studied under him.
- Director
- Producer
- Writer
Arthur Penn was born on 27 September 1922 in Philadelphia, Pennsylvania, USA. He was a director and producer, known for Bonnie and Clyde (1967), Little Big Man (1970) and The Miracle Worker (1962). He was married to Peggy Maurer. He died on 28 September 2010 in Manhattan, New York City, New York, USA.- Producer
- Director
- Additional Crew
Stuart Millar was born on 25 April 1929 in New York, New York, USA. He was a producer and director, known for Little Big Man (1970), Dream Breakers (1989) and When the Legends Die (1972). He died on 22 August 2006.- Calder Willingham was born on 23 December 1922 in Atlanta, Georgia, USA. He was a writer, known for The Graduate (1967), Paths of Glory (1957) and Little Big Man (1970). He died on 21 February 1995 in Laconia, New Hampshire, USA.
- Composer
- Actor
- Soundtrack
John Hammond was born on 13 November 1942 in Grand Rapids, Michigan, USA. He is a composer and actor, known for Little Big Man (1970), The Last Castle (2001) and Two-Lane Blacktop (1971).- Cinematographer
- Camera and Electrical Department
Harry Stradling Jr. was born on 7 January 1925 in New York City, New York, USA. He was a cinematographer, known for The Way We Were (1973), Little Big Man (1970) and 1776 (1972). He was married to Janet Cecile Goldwater, Stephanie Miller and Beverly Jean Snyder. He died on 17 October 2017 in Woodland Hills, Los Angeles, California, USA.- Editor
- Producer
- Additional Crew
Dede Allen started her career as a messenger at Columbia Pictures. She graduated to being a sound cutter and assistant editor. Her first job as a film editor was for director Robert Wise, and since then, she has achieved a reputation as one of the most stylish and creative editors in the American film industry.- Producer
- Additional Crew
Freddie Fields was born on 23 July 1923 in Ferndale, New York, USA. He was a producer, known for American Gigolo (1980), Victory (1981) and Glory (1989). He was married to Corinna Tsopei, Cherie Latimer, Polly Bergen and Edith Fellows. He died on 11 December 2007 in Beverly Hills, California, USA.- Actress
- Additional Crew
- Writer
In a six-decade-plus career (she started out as a radio performer at age 14), there are very few facets of entertainment that lovely singer/actress Polly Bergen has not conquered or, at the very least, touched upon. A nightclub and Columbia recording artist of the 50s and 60s, she is just as well known for her film and Emmy-winning dramatic performances as she is for her wry comedic gifts. In the leaner times, she has maintained quite well with her various businesses. Truly one for the ages, Polly has, at age 70+, nabbed a Tony nomination for her gutsy "I'm Still Here" entertainer Carlotta in Stephen Sondheim's "Follies", and was still dishing out the barbs as she recently demonstrated as Felicity Huffman's earthy mom on Desperate Housewives (2004).
Born in Knoxville, Tennessee as Nellie Burgin on July 14, 1930, her family, which included father William, mother Lucy and sister Barbra, eventually moved to Los Angeles. By the time she was 14, Polly was singing professionally on radio and managed to scrape up singing gigs with smaller bands around and about the Southern California area. She attended Compton Junior College before Paramount mogul Hal B. Wallis caught sight of her and signed her up with his studio. Having made an isolated film debut (as Polly Burgin) a year earlier in the Monogram western Across the Rio Grande (1949), Wallis showcased her as a decorative love interest in the slapstick vehicles of Dean Martin and Jerry Lewis, the (then) hottest comedy team in Hollywood. But At War with the Army (1950), That's My Boy (1951) and The Stooge (1951) did little for Polly although she presented herself well. MGM and Universal had the idea to cast her in a more serious vein with co-starring roles in their dramas Escape from Fort Bravo (1953), Arena (1953) and Cry of the Hunted (1953), but again she was overlooked. Disasppointed, she decided to abandon her lucrative film contract and seek work elsewhere.
That "elsewhere" came in the form of 1950s TV. Focusing on her singing, she promoted her many albums for Columbia by guest-starring on all the top variety shows of the times. This culminated in her own variety program, The Polly Bergen Show (1957). The song "The Party's Over" became her traditional show-closer and signature tune. Polly also showed some marquee mettle on the cabaret and nightclub circuits, performing at many of the top hotels and showrooms throughout the country. She made her Broadway debut along with Harry Belafonte in "John Murray Anderson's Almanac" in 1953, and went on to appear in such stage shows as "Top Man" and "Champagne Complex". A delightfully engaging game show panelist to boot, she took a regular seat on the To Tell the Truth (1956) panel for five seasons.
Polly tended to display a looser, down-to-earth personality to induce laughs but she was also was formidable dramatic player and fashion plate quite capable of radiating great charm, poise and elegance. For her role as alcoholic torch singer Helen Morgan in the special TV showcase The Helen Morgan Story (1957) , she took home the Emmy award. Unfortunately for Polly, Ann Blyth took on the role of the tragic singer in the film version (with Gogi Grant providing the vocals), in what could have been a significant return to films for her.
Instead, Polly had to wait another five years for that to happen. As the wife of Gregory Peck and designated victim of revengeful psychopath Robert Mitchum in the taut movie thriller Cape Fear (1962), her film career reignited. Other opportunities came in the form of her distraught mental patient in The Caretakers (1963), which found her at odds with nurse Joan Crawford and doctor Robert Stack; the sparkling comedy Move Over, Darling (1963), which placed her in a comedy triangle with "other wife" Doris Day and husband James Garner; and as the first woman Chief Executive of the White House in the frothy comedy tidbit Kisses for My President (1964) opposite bemused "First Gentleman" Fred MacMurray. In what was to be a tinge of deja vu, Polly again saw her movie career dissipate after only a couple of vehicles. True to form, the indomitable Polly rebounded on TV.
A mild string of TV-movies came her way as she matured into the 1970s and 1980s, most notably the acclaimed miniseries The Winds of War (1983), which reunited her with Robert Mitchum, this time as his unhappy, alcoholic wife. This, along with her participation in the sequel, War and Remembrance (1988), earned Polly supporting Emmy nominations. In the years to come, she would find herself still in demand displaying her trademark comic grit in such shows as The Sopranos (1999), Commander in Chief (2005) and Desperate Housewives (2004).
Polly returned to singing in 1999 after nearly a three-decade absence (due to health and vocal issues). Quite huskier in tone, she went on to delight the New York musical stage with stand-out performances in "Follies" (2001), "Cabaret" (2002) and "Camille Claudel" (2007). Polly still made nightly appearances and had even put together singing concert tours on occasion.
Polly has authored three best-selling beauty books outside the acting arena and has demonstrated a marked level of acumen in the business world. Founding a mail-order cosmetics business in 1965, she sold it to Faberge eight years later. She also developed her own shoe and jewelry lines.
Married (1950-1955) to MGM actor Jerome Courtland during her first movie career peak, she later wed topflight agent/producer Freddie Fields in 1957, a union that lasted 18 years and produced two adopted children, Pamela and Peter. A third marriage in the 1980s also ended in divorce. An assertive voice when it comes to women's rights and issues, her memoir "Polly's Principles" came out in 1974.
Polly played a grandmother in her last film, the dramedy Struck by Lightning (2012), and died two years later on September 20, 2013, at the age of 84.- Armand Deutsch was born on 25 January 1913 in Chicago, Illinois, USA. He was a producer, known for Kind Lady (1951), The Girl Who Had Everything (1953) and Right Cross (1950). He was married to Harriet Berk and Benay Venuta. He died on 13 August 2005 in Los Angeles, California, USA.
- Producer
- Additional Crew
Soon after World War II he started selling Red Ryder radio scripts written by his Shakespeare professor at Rutgers university. He was soon handling literary talent such as Raymond Chandler and Ben Hecht. He later joined Famous Artists Agency representing Lana Turner, Kirk Douglas, Richard Burton and many others. He resigned in '57 to form Seven Arts Productions with Elliot Hyman and supervised over 50 films including 'Night of the Iguana'and 'Reflections in a Golden Eye'.In 1966 he formed Rastar Productions to produce film versions of Broadway plays such as 'Funny Girl', winning an Oscar nomination for Best Picture, 'The Way We Were', 'Sunshine Boys', 'California Suite' and 'Robin and Marion'.- Producer
- Additional Crew
- Actor
Frederick Brisson was born on 17 March 1912 in Copenhagen, Denmark. He was a producer and actor, known for The Pajama Game (1957), Damn Yankees (1958) and The Velvet Touch (1948). He was married to Arlette Janssens Josephson and Rosalind Russell. He died on 8 October 1984 in New York City, New York, USA.- Actress
- Writer
- Soundtrack
The middle of seven children, she was named, not for the heroine of "As You Like It" but for the S.S. Rosalind on which her parents had sailed, at the suggestion of her father, a successful lawyer.
After receiving a Catholic school education, she went to the American Academy of Dramatic Art in New York, having convinced her mother that she intended to teach acting. In 1934, with some stock company work and a little Broadway experience, she was tested and signed by Universal. Simultaneously, MGM tested her and made her a better offer. When she plead ignorance of Hollywood (while wearing her worst-fitting clothes), Universal released her and she signed with MGM for seven years.
For some time she was used in secondary roles and as a replacement threat to limit Myrna Loy's salary demands. Knowing she was right for comedy, she tested five times for the role of Sylvia Fowler in The Women (1939). George Cukor told her to "play her as a freak". She did and got the part. Her "boss lady" roles began with the part of reporter Hildy Johnson in His Girl Friday (1940), through whose male lead, Cary Grant, she met her future husband, Grant's house-guest at the time.
In her forties, she returned to the stage, touring "Bell, Book and Candle" in 1951 and winning a Tony Award for "Wonderful Town" in 1953. Columbia, worried the public would think she had the female lead in Picnic (1955), billed her "co-starring Rosalind Russell as Rosemary." She refused to be placed in the Best Supporting Actress category when Columbia Pictures wanted to promote her for an Academy Award nomination for her role in Picnic (1955). Many felt she would have won had she cooperated. "Auntie Mame" kept her on Broadway for two years followed by the movie version.
Oscar nominations: My Sister Eileen (1942), Sister Kenny (1946), Mourning Becomes Electra (1947), and Auntie Mame (1958). In 1972, she received the Jean Hersholt Humanitarian Award for contributions to charity.- Actress
- Producer
- Music Department
Nancy Sandra Sinatra was born the first child of Frank Sinatra and Nancy Barbato Sinatra on June 8, 1940 in Jersey City, New Jersey. Her first television appearance was with her father and Elvis Presley in 1959. She first appeared as a film actress in For Those Who Think Young (1964) and Get Yourself a College Girl (1964). Nancy appeared alongside Elvis in the musical comedy Speedway (1968). She also had a successful career as a singer with two United States chart-toppers ("These Boots Are Made for Walking" and the duet with her father called "Somethin' Stupid") as well as numerous other chart entries including the John Barry / Leslie Bricusse penned theme song to the James Bond film You Only Live Twice (1967). Lee Hazlewood wrote many of her songs and sang with her on some of them. By the early 1970s, she was covering new ground by recording songs from other writers such as Bob Dylan, Smokey Robinson, Lynsey de Paul and Roy Wood. In recent years, Nancy has made a comeback also not hindered by the recent successful re-recording of "Somethin' Stupid" by Robbie Williams and Nicole Kidman.- Music Artist
- Actor
- Producer
Frank Sinatra was born in Hoboken, New Jersey, to Italian immigrants Natalina Della (Garaventa), from Northern Italy, and Saverio Antonino Martino Sinatra, a Sicilian boxer, fireman, and bar owner. Growing up on the gritty streets of Hoboken made Sinatra determined to work hard to get ahead. Starting out as a saloon singer in musty little dives (he carried his own P.A. system), he eventually got work as a band singer, first with The Hoboken Four, then with Harry James and then Tommy Dorsey. With the help of George Evans (Sinatra's genius press agent), his image was shaped into that of a street thug and punk who was saved by his first wife, Nancy Barbato Sinatra. In 1942 he started his solo career, instantly finding fame as the king of the bobbysoxers--the young women and girls who were his fans--and becoming the most popular singer of the era among teenage music fans. About that time his film career was also starting in earnest, and after appearances in a few small films, he struck box-office gold with a lead role in Anchors Aweigh (1945) with Gene Kelly, a Best Picture nominee at the 1946 Academy Awards. Sinatra was awarded a special Oscar for his part in a short film that spoke out against intolerance, The House I Live In (1945). His career on a high, Sinatra went from strength to strength on record, stage and screen, peaking in 1949, once again with Gene Kelly, in the MGM musical On the Town (1949) and Take Me Out to the Ball Game (1949). A controversial public affair with screen siren Ava Gardner broke up his marriage to Nancy Barbato Sinatra and did his career little good, and his record sales dwindled. He continued to act, although in lesser films such as Meet Danny Wilson (1952), and a vocal cord hemorrhage all but ended his career. He fought back, though, finally securing a role he desperately wanted--Maggio in From Here to Eternity (1953). He won an Oscar for best supporting actor and followed this with a scintillating performance as a cold-blooded assassin hired to kill the US President in Suddenly (1954). Arguably a career-best performance--garnering him an Academy Award nomination for Best Actor--was his role as a pathetic heroin addict in the powerful drama The Man with the Golden Arm (1955).
Known as "One-Take Charlie" for his approach to acting that strove for spontaneity and energy, rather than perfection, Sinatra was an instinctive actor who was best at playing parts that mirrored his own personality. He continued to give strong and memorable performances in such films as Guys and Dolls (1955), The Joker Is Wild (1957) and Some Came Running (1958). In the late 1950s and 1960s Sinatra became somewhat prolific as a producer, turning out such films as A Hole in the Head (1959), Sergeants 3 (1962) and the very successful Robin and the 7 Hoods (1964). Lighter roles alongside "Rat Pack" buddies Dean Martin and Sammy Davis Jr. were lucrative, especially the famed Ocean's Eleven (1960). On the other hand, he alternated such projects with much more serious offerings, such as The Manchurian Candidate (1962), regarded by many critics as Sinatra's finest picture. He made his directorial debut with the World War II picture None But the Brave (1965), which was the first Japanese/American co-production. That same year Von Ryan's Express (1965) was a box office sensation. In 1967 Sinatra returned to familiar territory in Sidney J. Furie's The Naked Runner (1967), once again playing as assassin in his only film to be shot in the U.K. and Germany. That same year he starred as a private investigator in Tony Rome (1967), a role he reprised in the sequel, Lady in Cement (1968). He also starred with Lee Remick in The Detective (1968), a film daring for its time with its theme of murders involving rich and powerful homosexual men, and it was a major box-office success.
After appearing in the poorly received comic western Dirty Dingus Magee (1970), Sinatra didn't act again for seven years, returning with a made-for-TV cops-and-mob-guys thriller Contract on Cherry Street (1977), which he also produced. Based on the novel by William Rosenberg, this fable of fed-up cops turning vigilante against the mob boasted a stellar cast and was a ratings success. Sinatra returned to the big screen in The First Deadly Sin (1980), once again playing a New York detective, in a moving and understated performance that was a fitting coda to his career as a leading man. He made one more appearance on the big screen with a cameo in Cannonball Run II (1984) and a final acting performance in Magnum, P.I. (1980), in 1987, as a retired police detective seeking vengeance on the killers of his granddaughter, in an episode entitled Laura (1987).