Alternative 80th Academy Awards In Memoriam
Here's a list of people i would have included in an alternative In Memoriam for the 80th Academy Awards. For this ceremony onwards, the tributes will include much more people than the original ceremonies, but is a nice way to fit all of those professionals
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Together with Fellini, Bergman and Kurosawa, Michelangelo Antonioni is credited with defining the modern art film. And yet Antonioni's cinema is also recognized today for defying any easy categorization, with his films ultimately seeming to belong to their own distinctive genre. Indeed, the difficulty of precisely describing their category is itself the very quintessence of Antonioni's films. Among the most-cited contributions of Antonioni's cinema are their striking descriptions of that unique strain of post-boom ennui everywhere apparent in the transformed life and leisure habits of the Italian middle and upper classes. Detecting profound technological, political and psychological shifts at work in post-WWII Italy, Antonioni set out to explore the ambiguities of a suddenly alienated and dislocated Italy, not simply through his oblique style of narrative and characters, nor through any overt political messaging, but instead by tearing asunder the traditional boundaries of cinematic narrative in order to explore an ever shifting internal landscape expressed through architecture, urban space and the sculptural, shaping presence of objects, shapes and emotions invented by camera movement and depth of focus.
Antonioni deftly manipulates the quieter, indirect edges of cinematic structure, often so discretely that his existential puzzles are felt before they can be intellectualized. The negative space is as prominent as the positive, silence as loud as noise, absence as palpable as presence, and passivity as driving a force as direct action. Transgressing unspoken cinematic laws, Antonioni frequently focuses on female protagonists while refusing to sentimentalize or morally judge his characters and placing them on equal footing with the other elements within his total dynamic system, like sounds or set pieces. And he violates spoken rules with unconventional cutting techniques, fractured spatial and temporal continuity, and a camera that insistently lingers in melancholy pauses, long after the actors depart, as if drifting just behind an equally distracted, dissipating narrative. Leaving questions unanswered and plot points irresolute, dispensing with exposition, suspense, sentimentality and other cinematic security blankets, Antonioni releases the viewer into a gorgeous, densely layered fog to contemplate and wrestle with his characters' imprecise quandaries and endless possibilities. Culminating in tour de force endings that often reframe the narrative in a daring, parting act of deconstruction, Antonioni's rigorously formal, yet open compositions allow his great, unwieldy questions to spill over into the world outside the cinema and outside of time.
Born into a middle-class family in the northern Italian town of Ferrara, Antonioni studied economics at the University of Bologna where he also co-founded the university's theatrical troupe. While dedicating himself to painting, writing film reviews, working in financial positions and in different capacities on film productions, Antonioni suffered a few false starts before expressing his unique directorial vision and voice in his first realized short film, Gente del Po, a moving portrait of fisherman in the misty Po Valley where he was raised. Uncomfortable with the neo-realist thrust of Italian cinema, Antonioni directed a series of eccentric and oblique documentary shorts that, in retrospect, reveal his desire to investigate the psyche's mysterious interiors. In his first fictional feature, Story of a Love Affair, Antonioni immediately subtly challenged traditional plot and audience expectation in ways that anticipate the formal and emotional expressionist dynamic that would fully flower within the groundbreaking L'Avventura (1960).
Reversing its raucous 1960 premiere to an infuriated Cannes audience, L'Avventura was rapturously lauded by fellow artists and filmmakers and awarded a special Jury Prize "for its remarkable contribution toward the search for a new cinematic language." It also presented the controlled ambivalence of Monica Vitti, who would become his partner, muse and psychological constant throughout his famed trilogy of L'Avventura, La Notte (1961) and L'Eclisse (1962) in addition to the exquisite Red Desert (1964), a film that marked another significant shift toward expressive color, male leads and working with soft focus and faster cuts. After the phenomenal commercial success of the MGM-produced Blow-Up (1966), Antonioni was devastated by the anti-climactic box office disaster of Zabriskie Point (1970) and returned to documentary. Invited to make Chung Kuo China by the Chinese government, Antonioni delivered a mesmerizing yet unsentimental four-hour tour of China which was vehemently rejected by its solicitors. A few years later, Antonioni returned to fictional form in his last masterpiece, The Passenger (1975), an enigmatic fable of vaporous identity that offers a bold companion piece to L'Avventura. Aside from the thematically retrospective Identification of a Woman (1982) and a period film made for television, The Mystery of Oberwald (1980) in which he conducted unusual experiments with color and video, Antonioni closed out his career with mostly short films, many of which were made after he suffered a stroke in 1985.
Tremendously influential yet largely taken for granted, Antonioni made difficult, abstract cinema mainstream. Embracing an anarchic geometry, Antonioni turned the architecture of narrative filmmaking inside-out in the most eloquent way possible, with many of his iconic scenes eternally preserved in the depths of the cinema's psyche. Observing modern maladies without judgment - sexism, dissolution of family and tradition, ecological/technological quandaries and the eternal questions of our place in the cosmos - Antonioni's prescience continues to resonate deeply as we find our way in the quickly moving fog.- Writer
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Ernst Ingmar Bergman was born July 14, 1918, the son of a priest. The film and T.V. series, The Best Intentions (1992) is biographical and shows the early marriage of his parents. The film Sunday's Children (1992) depicts a bicycle journey with his father. In the miniseries Private Confessions (1996) is the trilogy closed. Here, as in 'Den Goda Viljan' Pernilla August play his mother. Note that all three movies are not always full true biographical stories. He began his career early with a puppet theatre which he, his sister and their friends played with. But he was the manager. Strictly professional he begun writing in 1941. He had written a play called 'Kaspers död' (A.K.A. 'Kaspers Death') which was produced the same year. It became his entrance into the movie business as Stina Bergman (not a close relative), from the company S.F. (Swedish Filmindustry), had seen the play and thought that there must be some dramatic talent in young Ingmar. His first job was to save other more famous writers' poor scripts. Under one of that script-saving works he remembered that he had written a novel about his last year as a student. He took the novel, did the save-poor-script job first, then wrote a screenplay on his own novel. When he went back to S.F., he delivered two scripts rather than one. The script was Torment (1944) and was the fist Bergman screenplay that was put into film (by Alf Sjöberg). It was also in that movie Bergman did his first professional film-director job. Because Alf Sjöberg was busy, Bergman got the order to shoot the last sequence of the film. Ingmar Bergman is the father of Daniel Bergman, director, and Mats Bergman, actor at the Swedish Royal Dramatic Theater. Ingmar Bergman was also C.E.O. of the same theatre between 1963-1966, where he hired almost every professional actor in Sweden. In 1976 he had a famous tax problem. Bergman had trusted other people to advise him on his finances, but it turned out to be very bad advice. Bergman had to leave the country immediately, and so he went to Germany. A few years later he returned to Sweden and made his last theatrical film Fanny and Alexander (1982). In later life he retired from movie directing, but still wrote scripts for film and T.V. and directed plays at the Swedish Royal Dramatic Theatre for many years. He died peacefully in his sleep on July 30, 2007.- Actor
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One of the most popular and respected actors to come from the French "New Wave" film movement, Jean-Claude Brialy was born to a military family, which included one brother, in French colonial Algeria on March 30, 1933. Residing in various places while his father, a colonel with the French Army, went through the paces of his career, Brialy attended military school in 1946 and also worked in the theatre as a youth. He studied dramatics at a conservatory in Strasbourg, France, the Saint-Etienne Episcopal College.
Following time spent in the theatre, he moved to Paris in 1954 to pursue his career, without the support of his family, and worked various odd jobs before entering military service in Germany. Mixing in with a revolutionary group of artists that included Claude Chabrol and Jean-Luc Godard, he appeared as an extra in Jean Renoir's Elena and Her Men (1956) [Paris Does Strange things] and befriended other such rising film radicals as Éric Rohmer and Jacques Rivette while appearing in their short films. He grew in stature with featured roles in Girl in His Pocket (1957) [Girl in His Pocket] and L'ami de la famille (1957) [A Friend of the Family], but it was his friend Chabrol who provided him the leap to stardom with Le Beau Serge (1958), which is (arguably) considered the forerunner in "New Wave" filming. Co-starring Gérard Blain in the title role, Brialy played a city boy sophisticate returning to his simplified home village just to find that everything had changed and that his once promising friend (Blain) had become a chronic drunkard. He and Blain furthered their stars next playing each other's kin in Chabrol's The Cousins (1959), with Blain the innocent and Bialy the darkly disillusioned cousin. Bialy's association with other French avant-garde directors, including Godard, 'Francois Truffaut' and Louis Malle, placed him in excellent "New Wave" company alongside Jean-Paul Belmondo, Jean-Pierre Léaud and the afore-mentioned Blain, as strong, influential leading men.
Known for his lightness, passion, charm and subtlety of performance, Bialy's versatility in films ranged from stark melodrama to comedy farce. While essaying the elegant boulevardier with great sophistication and sympathy, he could just as easily slip into a character's dark and deep cynicism and/or contempt. He starred opposite a fantasia of Europe's loveliest leading ladies including Rosanna Schiaffino, Danielle Darrieux, Nadja Tiller, Elsa Martinelli, Françoise Dorléac, Geneviève Page and Dawn Addams. He ended the 60s notably paired with the enigmatic Jeanne Moreau in Truffaut's stylish Hitchockian thriller The Bride Wore Black (1968) [The Bride Wore Black].
In the 1970s Brialy extended his talents to include writing and directing, which included his debut film, the award-winning Églantine (1972). Most of the works he helmed were delightfully nostalgic and family-oriented in fashion. He also entered a newer phase of supporting character roles that also went on to court awards. After beginning the decade in one of his best film leads with Claire's Knee (1970) [Claire's Knee] for director/friend Rohmer, he earned a supporting César nomination for The Judge and the Assassin (1976) and then won the trophy a decade later for his secondary work in Les innocents (1987). During this time he also organized or supported several film and theatre festivals. He was the director of both the Théâtre Hébertot (1977) and the Théâtre des Bouffes-Parisiens (1986). A long time artistic director of the Festival of Anjou (1985-2001), he was also the creator and artistic director of the Festival of Ramatuelle from 1985. His work also included radio and extensive TV.
Off stage Brialy was a witty raconteur and bon vivant. He was also one of the select few French stars to be openly gay. It was most fitting that two of his more notable roles came late in life -- as the gay uncle in Chabrol's Inspector Lavardin (1986), and as the poet Max Jacob in Monsieur Max (2007), a homosexual Jew who converted to Catholicism before perishing in a Gestapo prison camp.
An occasional yet prolific writer on film, Brialy penned his autobiography Le ruisseau des singes (auto) in 2000 and his memoir, J'ai oublié de vous dire, in 2004. He owned a restaurant, L'Orangerie, in the Saint Louis Island of Paris and died on May 30, 2007, after a extended bout with cancer. Among his many honors: The Commander of the Legion of Honor and the National Order of Merit.- Actor
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He was a master class in cerebral eloquence and audience command...and although his dominant playing card in the realm of acting was quite serious and stately, nobody cut a more delightfully dry edge in sitcoms than this gentleman, whose calm yet blistering put-downs often eluded his lesser victims.
Acting titan Roscoe Lee Browne was born to a Baptist minister and his wife on May 2, 1922, in Woodbury, New Jersey. He attended Lincoln University, an historically black university in Pennsylvania until 1942, when he enlisted in the U.S. Army during World War II, where he served in Italy with the Negro 92nd Infantry Division and organized the Division's track and field team. He graduated from Lincoln University in 1946, and studied French through Middlebury College's summer language program. He received his master's degree from Columbia University, then subsequently returned to Lincoln and taught French and comparative literature, seemingly destined to settle in completely until he heard a different calling.
Roscoe relished his first taste of adulation and admiration as a track star, competing internationally and winning the world championship in the 800-yard dash in 1951. He parlayed that attention into a job as a sales representative for a wine and liquor importer. In 1956, he abruptly decided to become an actor. And he did. With no training but a shrewd, innate sense of self, he boldly auditioned for, and won, the role of the Soothsayer in "Julius Caesar" the very next day at the newly-formed New York Shakespeare Festival. He never looked back and went on to perform with the company in productions of "The Taming of the Shrew", "Titus Andronicus", "Othello", "King Lear" (as the Fool), and "Troilus and Cressida".
Blessed with rich, mellifluous tones and an imposing, cultured air, Roscoe became a rare African-American fixture on the traditionally white classical stage. In 1961 he appeared notably with James Earl Jones in the original off-Broadway cast of Jean Genet's landmark play "The Blacks". Awards soon came his way -- the first in the form of an Obie only a few years later for his portrayal of a rebellious slave in "The Old Glory". Additionally, he received the Los Angeles Drama Critic's Circle Award for both "The Dream on Monkey Mountain" (1970) and "Joe Turner's Come and Gone" (1989). Roscoe found less successful ventures on 1960s Broadway, taking his first curtain call in "A Cool World" in 1960, which folded the next day. He graced a number of other short runs including "General Seegar" (1962), "Tiger, Tiger Burning Bright" (1962), "The Ballad of the Sade Cafe" (1964), "Danton's Death" (1965), and "A Hand Is on the Gate: An Evening of Negro Poetry and Folk Music" (1966), which he also wrote and directed. He did not return to Broadway until 1983 with the role of the singing Rev. J.D. Montgomery in Tommy Tune's smash musical "My One and Only" in which his number "Kicking the Clouds Away" proved to be one of many highlights. Roscoe returned only once more to Broadway, earning acclaim and a Tony nomination for his supporting performance in August Wilson's "Two Trains Running" (1992).
Although he made an isolated debut with The Connection (1961), he wouldn't appear regularly in films until the end of the decade with prominent parts in the Elizabeth Taylor/Richard Burton film, The Comedians (1967), Jules Dassin's Uptight (1968), Hitchcock's Topaz (1969) and, his most notable, The Liberation of L.B. Jones (1970). Thereafter, he complimented a host of features, both comedic and dramatic, including Super Fly (1972) (and its sequel), Uptown Saturday Night (1974), Logan's Run (1976), Legal Eagles (1986), The Mambo Kings (1992) and Dear God (1996)
Elsewhere, Roscoe's disdainful demeanor courted applause on all the top 70s sitcoms including "All in the Family", "Maude," "Sanford and Son", "Good Times" and "Barney Miller" (Emmy-nominated), and he played the splendidly sardonic role of Saunders, the Tate household butler, after replacing Robert Guillaume's popular "Benson" character on Soap (1977). In 1986 he won an Emmy Award for his guest appearance on The Cosby Show (1984). His trademark baritone lent authority and distinction to a number of documentaries, live-action fare, and animated films, as well as the spoken-word arena, with such symphony orchestras as the Boston Pops and the Los Angeles Philharmonic to his credit. A preeminent recitalist, he was known for committing hundreds of poems to memory. For many years he and actor Anthony Zerbe toured the U.S. with their presentation of "Behind the Broken Words", an evening of poetry and dramatic readings.
At the time of his death of cancer on April 11, 2007, the never-married octogenarian was still omnipresent, more heard than seen perhaps. Among his last works was his narrations of a Garfield film feature and the most recent movie spoof Epic Movie (2007).Browne would have opened the tribute- Actress
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Kitty Carlisle Hart wore a cloak of many professional and elegant colors. Actress, opera singer, Broadway performer, TV celebrity, game show panelist, patron of the arts, and, at age 95, this vital woman continued her six-decade musical odyssey with songs and reminisces in her one-woman show: "Kitty Carlisle Hart: An American Icon," which toured from her beloved New York to Los Angeles. She developed pneumonia soon after her tour folded toward the end of 2006 and passed away of congestive heart failure in April of 2007.
Kitty Carlisle Hart was born Catherine Conn (pronounced "Cohen") on September 3, 1910 in New Orleans, Louisiana, to a family of German Jewish ancestry. Her father, Dr. Joseph Conn, was a gynecologist who died when she was only ten. Her very ambitious mother, Hortense (Holzman), escorted Kitty to Europe in 1921 with the intentions of marrying her off, Grace Kelly-style, into European royalty. When that plan didn't pan out, they stayed in Europe where Kitty received her adult education in Switzerland, London, Paris and Rome. She finally zeroed in on her acting career after being accepted into London's Royal Academy of Dramatic Art, and also went on to train at the Theatre de l'Atelier in Paris.
She and her mother eventually returned to New York in 1932 wherein she first apprenticed with the Bucks County Playhouse in New Hope, Pennsylvania. She attracted notice quite early in her career. Billed as Kitty Carlisle, she found radio work and made her first appearance on the musical stage in the title role of "Rio Rita." The legitimately-trained singer went on to appear in a number of operettas, including 1933's "Champagne Sec" (as Prince Orlofsky), as well as the musical comedies "White Horse Inn" (1936) and "Three Waltzes" (1937).
Her early ingénue movie career included warbling in the musical mystery Murder at the Vanities (1934), and alongside Allan Jones amidst the zany goings-on of the Marx Brothers in the classic farce A Night at the Opera (1935). She also played a love interest to Bing Crosby's in two of his lesser known musical outings Here Is My Heart (1934) and She Loves Me Not (1934).
Films were not her strong suit, however, and she returned to her theatre roots. Appearing in her first dramatic productions "French Without Tears" and "The Night of January 16th" in 1938, she went on to grace a number of chic and stylish plays and musicals throughout the 40s, including "Walk with Music (1940), "The Merry Widow" (1943, "Design for Living (1943) and "There's Always Juliet" (1944). She subsequently performed in Benjamin Britten's 1948 American premiere of "The Rape of Lucretia." In 1946, she married Pulitzer Prize-winning playwright Moss Hart and appeared in a number of his works including his classic "The Man Who Came to Dinner" (1949) and the witty Broadway comedy "Anniversary Waltz" (1954). The couple had two children. He died in 1961 and she never remarried, spending much of her existing time keeping his name alive to future generations.
It was the small screen that would make Kitty a welcome household commodity. The steadfast panelist of several quiz shows in the 1950s, it was the popular game show To Tell the Truth (1956) that anointed her game show doyenne and icon. A regular panelist for some 20 years, she appeared on each and every revamped format from its 1956 inception to its 2002 syndicated version. Known for her stately presence, infectious laugh, pouffy dark Prince Valiant hairstyle, and sweeping couture gowns on the show, audiences reveled at her effortless class to these simple parlor games. She also was a substitute panelist for other popular game shows such as "What's My Line?" and "I've Got a Secret."
In later years, she became an important society maven of New York City, an avid patron and zealous supporter of the performing arts. Appointed to various state-wide councils, she was chairman of the New York State Council of the Arts in 1976 and served in that capacity for 20 years, also serving on the boards of various New York City cultural institutions. A noted lecturer, the civic-minded Carlisle Hart was active in administrative capacities as well, notably as Chairman of Governor Rockefeller's Conference on Woman (1966) and as special consultant to the Governor on women's opportunities. At one time she wrote the column "Kitty's Calendar" for Women's Unit News.
Kitty never stopped entertaining. Making her Metropolitan debut on New Year's Eve 1966 as Prince Orlovsky in "Die Fledermaus," she joined the touring production the following year. She appeared in concert with the Philadelphia Orchestra and appeared with the Boston Opera Company at one point. She added stature to a number of summer stock plays including "Kiss Me Kate," "The Marriage-Go-Round" and her husband's "Light Up the Sky." Returning to Broadway as a replacement for Dina Merrill in the 1983 revival of "On Your Toes," she was later spotted in Woody Allen's Radio Days (1987) and Six Degrees of Separation (1993).
Carlisle penned her autobiography, Kitty, in 1988. In the millennium, she appeared in a number of documentary films and TV movies. She died on April 17, 2007, at age 96, in Manhattan.- Actor
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He made his movie debut at the invitation of Gene Kelly, who cast Cassel in the 1956 Paris-filmed seriocomedy The Happy Road (1957). At least, that's what the press releases claimed; actually, the tall, elastic-faced Cassel had been plugging away in films on a minor basis since 1950. Shortly after, Cassel was perfectly cast in the naif title role in the 1958 film version of Voltaire's Candide. He has since been a stalwart in the comedies of director Philippe de Broca, nearly always playing latter-day variations of the ingenuous Candide. Since this time, he is the screen-lover of some of the best actresses like Jean Seberg, Brigitte Bardot, Claude Jade, Catherine Deneuve, Stéphane Audran or Marie Dubois. He played in Gérard Brach's The Boat on the Grass (1971) (1970) with Claude Jade and John McEnery. In 1974, Jean-Pierre Cassel added thousands of American filmgoers to his fan following with his appearances as the bumbling King Louis XIII in Richard Lester's The Three Musketeers (1973) and The Four Musketeers: Milady's Revenge (1974).- Director
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Bob Clark was born on 5 August 1939 in New Orleans, Louisiana, USA. He was a director and writer, known for A Christmas Story (1983), Baby Geniuses (1999) and Porky's (1981). He died on 4 April 2007 in Pacific Palisades, California, USA.- Actress
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Born into a prominent Mormon family in Utah, Laraine Day's acting career began after her parents moved to Long Beach, California, where she joined the Long Beach Players. She appeared in her first film in 1937 in a bit part, then did leads in several George O'Brien westerns. Signing a contract with MGM, she achieved popularity playing the part of Nurse Lamont in that studio's "Dr. Kildare" series. An attractive, engaging performer, she had leads in several medium-budget films for various studios, but never achieved major stardom. She was married for 13 years to baseball manager Leo Durocher, and took such an active interest in his career and the sport of baseball in general that she became known as "The First Lady of Baseball".- Stunts
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Bud Ekins was born on 11 May 1930 in Hollywood, Los Angeles, California, USA. He was an actor, known for The Blues Brothers (1980), Sorcerer (1977) and National Lampoon's Animal House (1978). He was married to Betty Gene Towne. He died on 6 October 2007 in Beverly Grove, Los Angeles, California, USA.- Visual Effects
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Peter Ellenshaw was born on 24 May 1913 in London, England, UK. He was a production designer, known for Mary Poppins (1964), The Black Hole (1979) and Bedknobs and Broomsticks (1971). He was married to Jessie Ruth "Bobbie" Palmer. He died on 12 February 2007 in Santa Barbara, California, USA.- Stunts
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Gary Epper was born on 31 December 1944 in Los Angeles, California, USA. He was an actor, known for Jurassic Park (1993), Broken Arrow (1996) and Star Trek: First Contact (1996). He died on 1 December 2007 in Los Angeles, California, USA.Not featured in either the Oscars Memoriam or TCM Remembers- Roy Evans was born in 1930 in Bristol, England, UK. He is an actor, known for The Elephant Man (1980), Oliver! (1968) and Treasure Island (1977).
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During his last years at school he spent most of his time writing a thesis on 'the future of film' On leaving school he joined Gaumont British Studios at Lime Grove as an apprentice to a stills photographer for a year. He claimed this taught him more about the art of photography than any other form of training could. He then became a clapper boy at B.I.P. Studios at Elstree then moved to British Dominion where he became a a camera assistant. Next was a move to Pinewood and his call up for war duty much of which was spent as a one man film unit based at Aldershot where he learnt more about his craft than about soldering.. After the war he returned to Shepperton Studios to work for Alexander Korda and Powell and Pressburger. He also worked for John Huston on 'Moby Dick' for which he was responsible for all the second unit photography and special effects.- Director
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Writer, director and producer Richard Franklin was born on July 15, 1948 in Melbourne, Australia. Infatuated with cinema at an early age, Franklin first began making 8mm films at age 10. Franklin saw Alfred Hitchcock's "Psycho" two years later and was hooked on movies for life. Richard enrolled at Monash University in Melbourne and worked as an assistant cameraman at a television advertising company. Franklin eventually went to America and attended the University of Southern California in 1967. While studying at USC Franklin got Hitchcock to do a Q&A session for a screening of "Rope." Hitchcock in turn invited Franklin to watch him work on the set of "Topaz." Franklin returned to Australia following graduation in 1969 and got a job as an assistant director for the popular TV series "Homicide." Franklin went on to direct several episodes. He also made several short movies and documentaries around this time. Franklin made his feature film debut with the raunchy sex comedy "The True Story of Eskimo Nell." He followed this picture with the equally bawdy "Fantasm." His third movie "Patrick" was a nifty horror feature that proved to be a big international success; it won the Grand Prize at the Avoriaz Fantastic Film Festival, was nominated for an AFI Award for Best Film, and won the Best Director Award at the Sitges-Catalonian International Film Festival. "Roadgames" was a tense and witty "danger on the road" thriller knockout which was the most expensive Australian film made in the early 80s. Franklin then did the surprisingly solid and satisfying belated sequel "Psycho II." His other movies include the delightful "Cloak and Dagger," the silly "Link," and the hugely enjoyable "F/X 2." However, Franklin became weary of Hollywood studio politics and returned to his native Australia. He made the acclaimed play adaptations "Hotel Sorrento" and "Brilliant Lies." "Hotel Sorrento" won an AFI Award for Best Adapted Screenplay and was nominated for both Best Film and Best Director. Franklin also did a made-for-TV adaptation of Arthur Conan Doyle's classic fantasy adventure novel "The Lost World." His final feature was the horror thriller "Visitors." In addition to his film work, Franklin also directed episodes of the TV shows "Flatland," "A Fine Romance," and "Beauty and the Beast." He was a drummer in the Melbourne band The Pink Finks and was a lecturer at the Swinburne School of Film and Television in Australia. Richard Franklin died from prostate cancer at age 58 on July 11, 2007.- Actress
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Whether portraying a glum, withering wallflower, a drab and dowdy housewife, a klutzy maid or a cynical gossip, eccentric character comedienne Alice Ghostley had the ability to draw laughs from the skimpiest of material with a simple fret or whine. Making a name for herself on the Tony-winning Broadway stage, her eternally forlorn looks later evolved as an amusingly familiar plain-Jane presence on TV sitcoms and in an occasional film or two during the 50s, 60s and 70s.
Alice was born in a whistle-stop railroad station in the tiny town of Eve, Missouri, where her father was employed as a telegraph operator. She grew up in various towns in the Midwest (Arkansas, Oklahoma) and began performing from the age of 5 where she was called upon to recite poetry, sing and tap-dance. Spurred on by a high school teacher, she studied drama at the University of Oklahoma but eventually left in order to pursue a career in New York with her sister Gladys.
Teaming together in an act called "The Ghostley Sisters", Alice eventually went solo and developed her own cabaret show as a singer and comedienne. She also toiled as a secretary to a music teacher in exchange for singing lessons, worked as a theater usherette in order to see free stage shows, paid her dues as a waitress, worked once for a detective agency, and even had a stint as a patch tester for a detergent company. No glamourpuss by any stretch of the imagination, she built her reputation as a singing funny lady.
The short-statured, auburn-haired entertainer received her star-making break singing the satirical ditty "The Boston Beguine" in the Broadway stage revue "New Faces of 1952", which also showcased up-and-coming stars Eartha Kitt, Carol Lawrence, Hogan's Heroes co-star Robert Clary and Paul Lynde to whom she would be invariably compared to what with their similarly comic demeanors. The film version of New Faces (1954)_ featured pretty much the same cast. She and "male counterpart" Lynde would appear together in the same films and/or TV shows over the years.
With this momentum started, she continued on Broadway with the short-lived musicals "Sandhog" (1954) featuring Jack Cassidy, "Trouble in Tahiti" (1955), "Shangri-La" (1956), again starring Jack Cassidy, and the legit comedy "Maybe Tuesday" (1958). A reliable sketch artist, she fared much better on stage in the 1960s playing a number of different characterizations in both "A Thurber Carnival" (1960), and opposite Bert Lahr in "The Beauty Part" (1962), for which she received a Tony nomination. She finally nabbed the Tony trophy as "featured actress" for her wonderful work as Mavis in the comedy play "The Sign in Sidney Brustein's Window" (1965).
By this time Alice had established herself on TV. She and good friend Kaye Ballard stole much of the proceedings as the evil stepsisters in the classic Julie Andrews version of Cinderella (1957), and she also recreated her Broadway role in a small screen adaptation of _Shangri-La (1960) (TV)_. Although it was mighty hard to take away her comedy instincts, she did appear in a TV production of "Twelfth Night" as Maria opposite Maurice Evans' Malvolio, and graced such dramatic programs as "Perry Mason" and "Naked City", as well as the film To Kill a Mockingbird (1962). She kept herself in the TV limelight as a frequent panelist on such game shows as "The Hollywood Squares" and "The Match Game".
Enjoying a number of featured roles in such lightweight comedy fare as My Six Loves (1963) with Debbie Reynolds, With Six You Get Eggroll (1968) starring Doris Day, and the Joan Rivers starrer Rabbit Test (1978), she also had a small teacher role in the popular film version of Grease (1978). Alice primarily situated herself, however, on the sitcom circuit and appeared in a number of recurring 'nervous Nellie" roles, topping it off as the painfully shy, dematerializing and accident-prone witch nanny Esmeralda in Bewitched (1964) from 1969-1972 (replacing the late Marion Lorne, who had played bumbling Aunt Clara), and as the batty friend Bernice in Designing Women (1986).
In 1978 Alice replaced Dorothy Loudon as cruel Miss Hannigan in "Annie", her last Broadway stand. Alice would play the mean-spirited scene-stealer on and off for nearly a decade in various parts of the country. Other musicals during this time included "Take Me Along", "Bye, Bye Birdie" (as the overbearing mother), and the raucous revue "Nunsense".
A series of multiple strokes ended her career come the millennium and she passed away of colon cancer on September 21, 2007. Her long-time husband of fifty years, Italian comedic actor Felice Orlandi died in 2003. The couple had no children.- Writer
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Bernard Gordon was born on 29 October 1918 in New Britain, Connecticut, USA. He was a writer and producer, known for Horror Express (1972), Zombies of Mora Tau (1957) and Earth vs. the Flying Saucers (1956). He was married to Jeannette Lewin. He died on 11 May 2007 in Hollywood Hills, California, USA.- Actor
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Robert Gerard Goulet was born in Lawrence, Massachusetts, to a family of French-Canadian origin. He was the son of Jeanette (Gauthier) and Joseph Georges André Goulet. After hearing his son sing "Lead Kindly Light", in their church hall, his father told him, "I'm proud of you, son". A few weeks later, his father, lying on his death bed, called Robert to his side and told him the Lord had given him a beautiful voice and he must go and sing. His father died when Robert was 13 and he moved to Edmonton, Canada, a year later. Goulet won a singing scholarship to the Royal Conservatory of music in Toronto and, in 1951, made his concert debut at Edmonton in George Frideric Handel's "Messiah". Goulet was also a DJ on Canada's CKUA in Edmonton for two years. In 1960, he landed one of his biggest roles as "Lancelot" in Broadway's "Camelot", opposite Richard Burton and Julie Andrews. He received a Tony award in 1968 for his role in "Happy Time". He and his first wife, Louise Longmore, had one daughter, Nicolette Goulet (aka Nikki). His second wife, actress and singer Carol Lawrence, produced two sons, Christopher and Michael. In 1982, with Glenn Ford giving the bride away, he was married in Las Vegas to Vera Goulet (aka Vera Novak), a Yugoslavian-born writer, photographer and artist. When not living at their home in Las Vegas, they reside on their yacht, "Rogo", in Los Angeles. Goulet has performed at the White House for three presidents, as well as a command performance for Queen Elizabeth II.
On September 30, 2007, he was hospitalized in Las Vegas, where he was diagnosed with Idiopathic Pulmonary Fibrosis, "a rare but rapidly progressive and potentially fatal condition". On October 13, he was transferred to Cedars-Sinai Medical Center in Los Angeles after it was determined that he "would not survive without an emergency lung transplant".
Goulet died on October 30, 2007 at Cedars-Sinai Medical Center, while awaiting a transplant.
He is survived by his wife, Vera Goulet, and three children, sons Christopher and Michael, and daughter Nicolette Goulet, who is the mother of his grandchildren, Jordan Gerard and Solange.- Actor
- Soundtrack
Dabbs Greer was a very familiar face in films and especially on TV. He was a sort of "everyman" in his roles and played merchants, preachers, businessmen, and other "pillars of the community" types as well as assorted villains. With his plain looking face, wavy hair and mellow, distinctive voice he was a solid supporting actor.
He was born on April 2, 1917, in Fairview, Missouri, to Randall Alexander Greer and Bernice Irene Dabbs. Reared in Anderson, Missouri, he was the only child of a pharmacist father and a speech therapist mother. His first acting experience was on stage in a children's theatre production when he was eight years old. He attended Drury College in Springfield, Missouri, where he earned a BA and headed the drama department and Little Theatre in Mountain Grove, Missouri, from 1940-43. He then moved on to the famed Pasadena Playhouse in California as actor, instructor and administrator from 1943-50. He made his film debut in Reign of Terror (1949) (aka "The Black Book") in an uncredited bit part and went on to appear in many parts during the next 50 years. He is probably best remembered for his role as Rev. Alden on Little House on the Prairie (1974) but he was also a regular on the TV series Gunsmoke (1955) as a merchant, Mr. Jonas; Hank (1965) as Coach Ossie Weiss and Picket Fences (1992) as Rev. Henry Novotny. He also appeared in made-for-TV movies and guest-starred on such series as Adventures of Superman (1952); The Rifleman (1958); Wanted: Dead or Alive (1958); Trackdown (1957); Perry Mason (1957); Bonanza (1959); The Fugitive (1963) and The Brady Bunch (1969). He died in 2007, aged 90. He never married, had no children, and left no immediate relatives.- Director
- Writer
- Actor
Curtis Harrington was an excellent and shamefully underrated writer and director who specialized in marvelously offbeat and atmospheric low-budget independent horror pictures. Harrington was born on September 17, 1926, in Los Angeles and grew up in Beaumont, California. A hardcore film buff from a very young age, Harrington worked as a movie theater usher, a messenger at Paramount and a stagehand during his younger days. He made his first 8mm effort at age 14 and attended UCLA. In the 1940s and 1950s Harrington made a string of experimental avant-garde underground shorts, such as Picnic (1949), Fragment of Seeking (1946), "The Assignation" and "Wormwood Star". He was the cinematographer on Kenneth Anger's Puce Moment (1949) and acted in Anger's Inauguration of the Pleasure Dome (1954).
Harrington also was involved with fellow avant-garde filmmaker Maya Deren. He began working for Jerry Wald Productions at 20th Century-Fox in 1957 and served as a producer's assistant on several big-budget pictures, including Peyton Place (1957) and The Long, Hot Summer (1958). In 1961 he made a strong--and impressive--feature-film debut with the nicely moody and quirky Night Tide (1961)_. His follow-up features were a pleasingly diverse, idiosyncratic and often entertaining bunch, and included the nifty sci-fi/horror Alien (1979) precursor Queen of Blood (1966) and the delightfully campy Shelley Winters vehicles Whoever Slew Auntie Roo? (1972) and What's the Matter with Helen? (1971) (the latter was Harrington's personal favorite of all his films), the perverse The Killing Kind (1973) and the immensely fun Ruby (1977). Moreover, Harrington directed a handful of solid and satisfying made-for-TV offerings: How Awful About Allan (1970), The Cat Creature (1973), Killer Bees (1974), The Dead Don't Die (1975) and the hilariously horrible Devil Dog: The Hound of Hell (1978). In addition, Harrington directed episodes of such popular TV shows as Dynasty (1981), The Twilight Zone (1959), The Colbys (1985), Hotel (1983). Wonder Woman (1975) and Charlie's Angels (1976). Harrigton's final film was the typically oddball short Usher (2000).
Curtis Harrington died at age 80 from complications following a stroke on May 6th, 2007.- Actress
- Writer
- Soundtrack
Betty Hutton was born Elizabeth June Thornburg on February 26, 1921, in Battle Creek, Michigan. Two years later, Betty's father decided that the family way of life wasn't for him, so he left (he committed suicide 16 years later). Having to fend for themselves, Mrs. Thornburg moved the family to Detroit to find work in the numerous auto factories there, but times were hard and she decided to take advantage of Prohibition and opened a small tavern, at the time called a speakeasy. The police were always looking for those types of operation, both big and small, and when they detected one, they swooped in and closed it down. Mrs. Thornburg was no different from the other owners, they simply moved elsewhere. Poverty was a constant companion. In addition to that, Mrs. Thornburg was an alcoholic.
At nine years old, Betty began singing publicly for the first time in a school production. Realizing the voice Betty had, her mother took her around Detroit to have her sing to any group that would listen. This was a small way of getting some money for the poor family. When she was 13, Betty got a few singing jobs with local bands in the area. Thinking she was good enough to make the big time, she left for New York two years later to try a professional career. Unfortunately, it didn't work out and Betty headed back to Detroit.
In 1937, Betty was hired by Vincent Lopez who had a popular band that appeared on the local radio. Later, she would return to New York and it was here that her career took off. Betty found herself on Broadway in 1940, and it was only a matter of time before her career took off to bigger heights. The following year, she left New York for Hollywood, where she was to find new life in films. She was signed by Paramount Pictures and made her debut, at 21, in The Fleet's In (1942), along with Eddie Bracken, William Holden and Dorothy Lamour. Reviews were better than expected, with critics looking favorably upon her work. She had previously appeared in a few musical shorts, which no doubt helped her in her first feature film. She made one more musical in 1942 and two more in 1943.
In 1944, she tried to break away from musicals and try her hand in a screwball comedy, The Miracle of Morgan's Creek (1943). She proved - to herself, the public and the critics - that she was marketable outside musicals. In subsequent films, Betty was able to show her comedic side as well as her singing. In 1948, she appeared in her first big box-office bomb, Dream Girl (1948), which was ripped to shreds by critics, as was Betty's acting, and the movie flopped at the box office. It wasn't long before Betty became unhappy with her career. In truth, she had the acting talent, but the parts she got weren't the types to showcase that. Though she did appear in three well-received films later, Red, Hot and Blue (1949), Annie Get Your Gun (1950) and The Greatest Show on Earth (1952), her career was winding down.
Later, after filming Somebody Loves Me (1952), Betty was all but finished. She had married Charles O'Curran that year and he wanted to direct her in an upcoming film. Paramount didn't like the idea and the temper tantrum-prone Betty walked out of her contract and movies. She did concentrate on the relatively new medium of television and the stage, but she never recovered her previous form. Her final film was a minor one, Spring Reunion (1956). Her TV series, The Betty Hutton Show (1959), didn't fare too well at all. Betty lived in quiet retirement in Palm Springs, California until her death on March 11, 2007. She was 86 years old.- Actress
- Soundtrack
Deborah Jane Trimmer was born on 30 September 1921 in Glasgow, Scotland, the daughter of Captain Arthur Kerr Trimmer. She was educated at Northumberland House, Clifton, Bristol. She first performed at the Open Air Theatre in Regent's Park, London. She subsequently performed with the Oxford Repertory Company 1939-40. Her first appearance on the West End stage was as Ellie Dunn in "Heartbreak House" at the Cambridge Theatre in 1943. She performed in France, Belgium and Holland with ENSA (Entertainments National Service Association, or Every Night Something Awful) - The British Army entertainment service. She has appeared in many films from her first appearance in Major Barbara (1941).- Additional Crew
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- Music Department
Lithe, diminutive and unimposing, Michael Kidd never asked a dancer to perform a step or move he himself could not do. One of Broadway's and Hollywood's most distinguished, inventive and gifted choreographers, it was not uncommon to remember his expert dance sequences above all else. After all, who can forget the rousing barnstorming dance in Seven Brides for Seven Brothers (1954), or Fred Astaire's and Cyd Charisse's romantic glide through Central Park to the musical caress of "Dancing in the Dark" in The Band Wagon (1953), or the waiters' high-flying acrobatics during the Harmonia Gardens sequence in Hello, Dolly! (1969)? It is what made these films a cut above the rest. These three highlights should alone keep Kidd's name indelible in the Hollywood film annals for decades and decades to come.
He was born Milton Greenwald in Brooklyn on August 12, 1915 (sources indicating 1919 are incorrect). His father, a barber, was a Russian-Jewish immigrant. Although he was influenced by dance while a high school student, his sensibilities led him to major in chemical engineering at New York's City College. Finding his career choice too impersonal and isolating, he switched to dance and was awarded a scholarship to attend the School of American Ballet, making his debut in a performance of "The Eternal Road" in 1937. He subsequently toured with the American Ballet and the Ballet Caravan. Renaming himself Michael Kidd, he became a soloist for the American Ballet Theatre in 1942 and appeared auspiciously as Billy the Kid and Bluebeard, among other important figures. Performing challenging pieces by the legendary Agnes de Mille and Jerome Robbins, he began also choreographing pieces for himself and the company as well ("On Stage!" (1942).)
Broadway soon beckoned. In the post-WWII years Michael took his trade to the Great White Way and would eventually earn five Tony awards for his choreography: "Finian's Rainbow" (1947), "Guys and Dolls" (1951), "Can-Can" (1953), "Li'l Abner" (1957) and "Destry Rides Again" (1959). On film he choreographed, among others, Where's Charley? (1952), The Band Wagon (1953), Star! (1968), Hello, Dolly! (1969) and his pièce de résistance, Seven Brides for Seven Brothers (1954), arguably one of the most robust and dazzling displays of dance Hollywood has ever offered. Sadly, his superb dance skills have been less visible in front of the camera. However, in It's Always Fair Weather (1955) we're allowed to witness his talent teamed with the legendary Gene Kelly and Dan Dailey. In one memorable sequence, the trio danced around New York with garbage can lids attached to their feet.
In 1975 Kidd surprised critics by starring in the Michael Ritchie cult film Smile (1975), a devilishly wicked and clever satire on beauty pageants. The versatile Michael also directed occasionally for both film (Danny Kaye's Merry Andrew (1958)) and TV (All in the Family (1971), Laverne & Shirley (1976)).
It is hardly shocking that Kidd was never nominated for an Oscar award for his choreography, as there is no specialized category for such. The Academy rectified this awkward situation by awarding him an honorary trophy in 1997 for his outstanding services to the art of dance, joining an extremely small and illustrious group that includes Jerome Robbins ("West Side Story") and Onna White ("Oliver"). Kidd died of cancer in 2007 at age 92, and was survived by his second wife, Sheila, and four children (Kristine, Susan, Amy and Mathew).- Cinematographer
- Camera and Electrical Department
- Director
László Kovács was born on May 14, 1933 in Cece, Hungary. He is known for his work on Easy Rider (1969), Five Easy Pieces (1970), Ghostbusters (1984) and Copycat (1995). He won the Lifetime Achievement Award from the ASC in 2002. He was married to Audrey. He died on July 22, 2007 in Beverly Hills, Los Angeles, California, USA.- Actor
- Soundtrack
Mean, miserly and miserable-looking, they didn't come packaged with a more annoying and irksome bow than Charles Lane. Glimpsing even a bent smile from this unending sourpuss was extremely rare, unless one perhaps caught him in a moment of insidious glee after carrying out one of his many nefarious schemes. Certainly not a man's man on film or TV by any stretch, Lane was a character's character. An omnipresent face in hundreds of movies and TV sitcoms, the scrawny, scowling, beady-eyed, beak-nosed killjoy who usually could be found peering disdainfully over a pair of specs, brought out many a comic moment simply by dampening the spirit of his nemesis. Whether a Grinch-like rent collector, IRS agent, judge, doctor, salesman, reporter, inspector or neighbor from hell, Lane made a comfortable acting niche for himself making life wretched for someone somewhere.
He was born Charles Gerstle Levison on January 26, 1905 in San Francisco and was actually one of the last survivors of that city's famous 1906 earthquake. He started out his working-class existence selling insurance but that soon changed. After dabbling here and there in various theatre shows, he was prodded by a friend, director Irving Pichel, to consider acting as a profession. In 1928 he joined the Pasadena Playhouse company, which, at the time, had built up a solid reputation for training stage actors for the cinema. While there he performed in scores of classical and contemporary plays. He made his film debut anonymously as a hotel clerk in Smart Money (1931) starring Edward G. Robinson and James Cagney and was one of the first to join the Screen Actor's Guild. He typically performed many of his early atmospheric roles without screen credit and at a cost of $35 per day, but he always managed to seize the moment with whatever brief bit he happened to be in. People always remembered that face and raspy drone of a voice. He appeared in so many pictures (in 1933 alone he made 23 films!), that he would occasionally go out and treat himself to a movie only to find himself on screen, forgetting completely that he had done a role in the film. By 1947 the popular character actor was making $750 a week.
Among his scores of cookie-cutter crank roles, Lane was in top form as the stage manager in Twentieth Century (1934); the Internal Revenue Service agent in You Can't Take It with You (1938); the newsman in Mr. Smith Goes to Washington (1939); the rent collector in It's a Wonderful Life (1946); the recurring role of Doc Jed Prouty, in the "Ellery Queen" film series of the 1940s, and as the draft board driver in No Time for Sergeants (1958). A minor mainstay for Frank Capra, the famed director utilized the actor's services for nine of his finest films, including a few of the aforementioned plus Mr. Deeds Goes to Town (1936), Arsenic and Old Lace (1944) and State of the Union (1948).
Lane's career was interrupted for a time serving in the Coast Guard during WWII. In post-war years, he found TV quite welcoming, settling there as well for well over four decades. Practically every week during the 1950s and 1960s, one could find him displaying somewhere his patented "slow burn" on a popular sitcom - Topper (1953), The Real McCoys (1957), The Many Loves of Dobie Gillis (1959), Mister Ed (1961), Bewitched (1964), Get Smart (1965), Gomer Pyle: USMC (1964), The Munsters (1964), Green Acres (1965), The Flying Nun (1967) and Maude (1972). He hassled the best sitcom stars of the day, notably Lucille Ball (an old friend from the RKO days with whom he worked multiple times), Andy Griffith and Danny Thomas. Recurring roles on Dennis the Menace (1959), The Beverly Hillbillies (1962) and Soap (1977) made him just as familiar to young and old alike. Tops on the list had to be his crusty railroad exec Homer Bedloe who periodically caused bucolic bedlam with his nefarious schemes to shut down the Hooterville Cannonball on Petticoat Junction (1963). He could also play it straightforward and serious as demonstrated by his work in The Twilight Zone (1959), Perry Mason (1957), Little House on the Prairie (1974) and L.A. Law (1986).
A benevolent gent in real life, Lane was seen less and less as time went by. One memorable role in his twilight years was as the rueful child pediatrician who chose to overlook the warning signs of child abuse in the excellent TV movie Sybil (1976). One of Lane's last on-screen roles was in the TV-movie remake of The Computer Wore Tennis Shoes (1995) at age 90. Just before his death he was working on a documentary on his long career entitled "You Know the Face".
Cinematically speaking, perhaps the good ones do die young, for the irascible Lane lived to be 102 years old. He died peacefully at his Brentwood, California home, outliving his wife of 71 years, former actress Ruth Covell, who died in 2002. A daughter, a son and a granddaughter all survived him.- Actor
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When hunky, twenty-year-old heart-throb Heath Ledger first came to the attention of the public in 1999, it was all too easy to tag him as a "pretty boy" and an actor of little depth. He spent several years trying desperately to sway this image, but this was a double-edged sword. His work comprised nineteen films, including 10 Things I Hate About You (1999), The Patriot (2000), A Knight's Tale (2001), Monster's Ball (2001), Ned Kelly (2003), The Brothers Grimm (2005), Lords of Dogtown (2005), Brokeback Mountain (2005), Casanova (2005), Candy (2006), I'm Not There (2007), The Dark Knight (2008) and The Imaginarium of Doctor Parnassus (2009). He also produced and directed music videos and aspired to be a film director.
Heath Ledger was born on the fourth of April 1979, in Perth, Western Australia, to Sally (Ramshaw), a teacher of French, and Kim Ledger, a mining engineer who also raced cars. His ancestry was Scottish, English, Irish, and Sephardi Jewish. As the story goes, in junior high school it was compulsory to take one of two electives, either cooking or drama. As Heath could not see himself in a cooking class he tried his hand at drama. Heath was talented, however the rest of the class did not acknowledge his talent. When he was seventeen he and a friend decided to pack up, leave school, take a car and rough it to Sydney. Heath believed Sydney to be the place where dreams were made or, at least, where actors could possibly get their big break. Upon arriving in Sydney with a purported sixty-nine cents to his name, Heath tried everything to get a break.
His first real acting job came in a low-budget movie called Blackrock (1997), a largely unimpressive cliché; an adolescent angst film about one boy's struggle when he learns his best mate raped a girl. He only had a very small role in the film. After that small role Heath auditioned for a role in a T.V. show called Sweat (1996) about a group of young Olympic hopefuls. He was offered one of two roles, one as a swimmer, another as a gay cyclist. Heath accepted the latter because he felt to really stand out as an actor one had to accept unique roles that stood out from the bunch. It got him small notice, but unfortunately the show was quickly axed, forcing him to look for other roles. He was in Home and Away (1988) for a very short period, in which he played a surfer who falls in love with one of the girls of Summer Bay. Then came his very brief role in Paws (1997), a film which existed solely to cash in on guitar prodigy Nathan Cavaleri's brief moment of fame, where he was the hottest thing in Australia. Heath played a student in the film, involved in a stage production of a Shakespeare play, in which he played "Oberon". A very brief role, this offered him a small paycheck but did nothing to advance his career. Then came Two Hands (1999). He went to the U.S. trying to audition for film roles, showcasing his brief role in Roar (1997) opposite then unknown Vera Farmiga.
Then Australian director Gregor Jordan auditioned him for the lead in Two Hands (1999), which he got. An in your face Aussie crime thriller, Two Hands (1999) was outstanding and helped him secure a role in 10 Things I Hate About You (1999). After that, it seemed Heath was being typecast as a young hunk, which he did not like, so he accepted a role in a very serious war drama The Patriot (2000).
What followed was a stark inconsistency of roles, Ledger accepting virtually every single character role, anything to avoid being typecast. Some met with praise, like his short role in Monster's Ball (2001), but his version of Ned Kelly (2003) was an absolute flop, which led distributors hesitant to even release it outside Australia. Heath finally had deserved success with his role in Brokeback Mountain (2005). For his portrayal of Ennis Del Mar in in the film, Ledger won the New York Film Critics Circle Award for Best Actor and Best International Actor from the Australian Film Institute, and was nominated for the BAFTA Award for Best Actor in a Leading Role and for the Academy Award for Best Actor.
Ledger was found dead on January 22, 2008 in his apartment in the Manhattan neighborhood of SoHo, with a bottle of prescription sleeping pills near-by. It was concluded weeks later that he died of an accidental overdose of prescription drugs that included pain-killers, sleeping pills and anti-anxiety medication. His death occurred during editing of The Dark Knight (2008) and in the midst of filming his last role as Tony in The Imaginarium of Doctor Parnassus (2009).
Posthumously, he shared the 2007 Independent Spirit Robert Altman Award with the rest of the ensemble cast, the director, and the casting director for the film I'm Not There (2007), which was inspired by the life and songs of American singer-songwriter Bob Dylan. In the film, Ledger portrayed a fictional actor named Robbie Clark, one of six characters embodying aspects of Dylan's life and persona.
A few months before his death, Ledger had finished filming his performance as the Joker in 'The Dark Knight (2008). His untimely death cast a somber shadow over the subsequent promotion of the $185 million Batman production. Ledger received more than thirty posthumous accolades for his critically acclaimed performance as the Joker, the psychopathic clown prince of crime, in the film, including the Academy Award for Best Supporting Actor, a Best Actor International Award at the 2008 Australian Film Institute Awards (for which he is the second actor to win an acting award posthumously after Peter Finch who won an Oscar for Network (Best Actor 1977)), the 2008 Los Angeles Film Critics Association Award for Best Supporting Actor, the 2009 Golden Globe Award for Best Supporting Actor - Motion Picture, and the 2009 BAFTA Award for Best Supporting Actor.Ledger would have closed the tribute- Actor
- Director
Bahamian-born Calvin Lockhart first caught moviegoers' attention in the supercharged urban films Cotton Comes to Harlem (1970) and Halls of Anger (1970) before becoming a fairly steady fixture in the "blaxploitation" movies of the early-to-mid-1970s.
Born Bert Cooper to a large family in Nassau on October 18, 1934, he was raised there before moving to New York in his late teens with initial designs on becoming a civil engineer (Cooper Union School of Engineering). Dropping out after a year to pursue an acting career, Calvin worked as a carpenter and construction worker, among other odd jobs. He first studied with legendary coach Uta Hagen and then hit the New York theater boards. The story goes that he was discovered by playwright Ketti Frings while working as a taxi driver. She was so impressed with his arrogance that she cast him in her play "The Cool World" in 1960. From there Calvin drummed up interest via a bit of controversy on Broadway when he played a sailor in love with a white girl in the racially-themed "A Taste of Honey" starring Angela Lansbury.
Serious film and TV roles for black actors were scarce at that time, so Calvin moved to Europe. In Italy he owned a restaurant and formed his own theater company, serving as both actor and director. He also lived in Germany before settling in England. He starting building up film credits with minor work in such British movies as A Dandy in Aspic (1968) and Only When I Larf (1968). He made news in another racially-motivated project entitled Joanna (1968), which centered around a "mod", interracial romance with 'Genevieve Waite'.
Returning to the US with a stronger resume, he made a distinct early impression as a slick preacher bent on fraud in the hip cop flick Cotton Comes to Harlem (1970) and as an English teacher in the inner-city potboiler Halls of Anger (1970). He also involved himself in such black action features as Melinda (1972), Honeybaby, Honeybaby (1974) and The Baron (1977). Similar in charismatic style and intelligence to Sidney Poitier, the famed actor-director was impressed enough to cast Calvin in his broad comedy vehicles Uptown Saturday Night (1974) and Let's Do It Again (1975). Calvin could also play fey upon request, camping it up briefly in Myra Breckinridge (1970). During this rich period he also became an artist-in-residence with the Royal Shakespeare Company at Stratford (the first black actor so honored) and appeared prestigiously in such productions as "Titus Andronicus" (1972).
Calvin's career grew lackluster, however, by the end of the decade, resorting to trivial guest parts in such TV shows as Good Times (1974) and Get Christie Love! (1974). He landed a recurring role on the nighttime soap Dynasty (1981) in the early '80s.
In 1974, Calvin married a woman also from the West Indies and had three children. After his career subsided, he decided to return to his homeland in the mid '90s and resettled in Nassau with his fourth wife, Jennifer Miles. There he involved himself with the Freeport Players Guild as a director. He also returned to films after a 15-year absence, completing Rain (2008), a movie shot in the Bahamas, shortly before he suffered a major stroke. Calvin died of complications on March 29, 2007, and his family is in the process of establishing a scholarship fund in his name for Bahamian student pursuing an acting or filmmaking career.- Writer
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Norman Mailer, the Brooklyn-born and -bred writer who fought for what he characterized as the "heavyweight championship" of American letters after the 1961 death of Ernest Hemingway, never came close to his dream of writing the Great American novel, but he was a colossus of American culture and literature in the 1960s, '70s and '80s. When he died in 2007 at the age of 84, Mailer towered above all other American writers of his and subsequent generations,according to his "New York Times" obituary. A primal life force whose writing elucidated the human condition among America and Americans better than any of his contemporaries for better than three decades, Mailer likely will rank with Herman Melville and Hemingway as among the greatest writers produced by the United States. Although denied the Nobel Prize that he had long coveted (winner of two Pulitzer Prizes, Mailer believed that the near-fatal stabbing of his second-wife Adele Morales by himself in 1960 attributed to his failure to win the big prize), Mailer will be the writer that future generations go to to understand the America of the late 1940s through at least the early '80s. "Advertisements for Myself" (1959), "An American Dream (1966)" (1965), "The Armies of the Night" (1969) and "Executioners Song, The (1980) (TV)_" -- one compendium of odds and ends interlaced with Mailer's musings, one novel, and two books of "journalism" that he classified as novels -- will be mandatory on the reading lists of universities 100 years in the future.
Norman Mailer was born in January 1923 in Long Branch, New Jersey, to Fanny (Schneider), who ran a nursing/housekeeping agency, and Isaac Barnett Mailer, an accountant. His family was Jewish. Mailer entered Harvard College in 1939 at the age of 16 to study engineering at a time when there was still a quota on Jews at the Ivy League universities, to keep them the province of the WASPs that still controlled the control up to and through World War II. (Mailer would be a commentator on WASPs and their loosening grip on America and American culture in the post-World War II period. He saw the space project and the landing of a man on the moon as the apotheosis of WASP culture.) He fell in love with literature at Harvard, and began his first attempts at creative writing. Mailer took his degree in 1943, was drafted into the Army the following year and served briefly with a rifle company in the Philippines. His experiences as an infantryman would be the genesis of his 1948 novel "The Naked and The Dead", one of the first of the World War II novels written by the men who had fought it.
Mailer would never have termed the generation that went to war in 1941-45 "The Greatest Generation", a concept alien to such post-war writers as Mailer's erstwhile friend James Jones (author of "From Here to Eternity", "Catch-22" author Joseph Heller, or populist American historian Howard Zinn, all of whom served in the War. The officers and enlisted men of Mailer's novel "The Naked and the Dead" are not saints, nor are they on noble missions, let alone quests for something as abstract as "democracy". Democracy is not a staple of Norman Mailer's Army. The officers, as a class, represent an insidious form of fascism -- in kind, if not degree -- in this war against fascism. Published in 1948, "The Naked and The Dead" was a bestseller and made its 25 year old author famous and relatively well-off, financially. Mailer would never have to toil at any craft other than writing for the rest of the nearly 60 years allotted to him. His next two novels, "Barbary Shore" (1951) and "The Deer Park" (1954) were artistic and commercial failures. For 10 years after the publication of "The Deer Park" until "An American Dream" (serialized in "Esquire Magazine" in 1964, rewritten and published as a novel in 1965), Mailer eschewed tackling another novel. Instead, he turned to journalism and revolutionized what had been one of the ghettos of American letters. If there had been no Norman Mailer, perhaps there would have been a "New Journalism", but it would have been poorer as he was its greatest exponent. "New Journalism" was a moniker hung on a particularly personal type of reflection added to the pedantic Who, What, Where & How? of traditional reporting. Rather than exile himself from the story in the interest of an impossible-to-obtain "neutrality" that is so dear to the mainstream American newspaper and magazine culture currying favor with advertisers beyond the truss & body building equipment slums of the old "Men's magazines", Mailer injected himself into the story and wrote about how he was effected by events. His seminal article about the 1960 Democratic National Convention in Los Angeles, "Superman Comes to the Supermarket" (Superman being John F. Kennedy and the Supermarket the Los Angeles where the DNC was held, as well as the new post-War America at large") might very well be considered as the starting point of the New Journalism. The article was published in the November 1960 issue of "Esquire Magazine." Tom Wolfe and other masters of the "New Journalism," which stressed a kind of irreverence towards the subject, soon followed.
In an American society that is still enthralled to Victorian-era concepts of class (Virginia Woolf denounced authors who wrote for money, a reflection of the aristocratic disdain for anyone who made rather than inherited money as vulgarians whose seed was tainted by contact with the till), Mailer's achievement was looked down upon. Rather than being hailed for revolutionizing American letters, Mailer was treated patronizingly by the Literary Establishment. Yet, the serious literary novel now is as nearly dead as all the Cassandras of the 1960s and '70s prognosticated, replaced by "non-fiction" memoirs, in which writers no longer hide behind fictive personas to tell stories, but take full-credit for living lives as full of foul incidents as any novel ever published. (That many of these "true tales" are fiction is beside the point.) Ironically, Norman Mailer, who longed to write the Great American novel, likely must bear the lion's share of responsibility for the death of the novel and the rise of the confessional "non-fiction" book, as he elevated "mere journalism" into an art form. Reporting became and art when Mailer married his beautiful writing with naked confession that made him a world-class celebrity in the 1960s and '70s, featured as a regular staple on television talk shows. Simply put, without Norman Mailer, there would not be American literature as we know it.
As concerns Hollywood, Mailer wrote a novel about Hollywood ("The Deer Park") and the first "serious" biography of Marilyn Monroe, which got him (and Monroe) the cover of the July 16 1973 edition of "Time Magazine." He made three improvisational films in the late 1960s: Wild 90 (1968), Beyond the Law (1968) and Maidstone (1970) and directed the 1987 adaptation of his own neo-noir novel Tough Guys Don't Dance (1987). He despised the 1958 movie made from The Naked and the Dead (1958), but had better luck with The Executioner's Song (1982) (1979), for which he wrote the screenplay for the 1982 telefilm. In 1983, Mailer was nominated for an Emmy for Outstanding Writing in a Limited Series or a Special for his work, three years after his 1979 "novel" (Mailer had characterized his "The Armies of the Night" as "The novel as history, history as a novel") had won him his second Pulitzer Prize, for Fiction. ("Armies" had conquered him his first, for General Non-Fictionm in 1969.)
Norman Mailer died of acute renal failure at New York City's Sinai Hospital on November 10, 2007. He was 84 years old.- Director
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Delbert Mann, the Oscar-winning film director, was born Delbert Martin Mann Jr. in Lawrence, Kansas, in 1920. His father moved the family to Nashville, Tennesse, after taking a teaching position at Scarritt College. The young Mann graduated from Vanderbilt University, where he met his future wife, Ann Caroline Gillespie. He developed a lifelong friendship with Fred Coe, whom he met at the Nashville Community Playhouse, that would prove critical in his professional life.
After his 1941 graduation from Vanderbilt, Mann joined the Army and was assigned to the Air Corps, eventually becoming a pilot with the 8th Air Force. As a B-24 pilot with the "Mighty Eighth," Mann flew 35 bombing missions in the European Theater of Operations. After being demobilized at the end of the war, his interest changed to another type of theater, and he attended the Yale Drama School. From Yale he moved on to a directing job with the Town Theatre of Columbia, South Carolina.
His old friend Fred Coe, a producer at NBC, offered Mann the opportunity to direct live television drama on the network's The Philco Television Playhouse (1948). Mann accepted the job offer and moved to New York in 1949. For NBC he directed many dramas for the "Philco Playhouse," which later alternated its broadcasting weeks on the network with the Goodyear Playhouse (1951) and Producers' Showcase (1954) (television programs in the early days typically had one major commercial sponsor; thus, many programs from the early days bore the name of that primary sponsor). Mann directed episodes for all three showcases, including "October Story" with Julie Harris and Leslie Nielsen, "Middle of the Night" with Eva Marie Saint and E.G. Marshall, a remake of The Petrified Forest (1936) with the inevitable Humphrey Bogart (who created the role of Duke Mantee on the Broadway stage and played it in the classic 1935 film), and even two productions of William Shakespeare's "Othello" (one of which featured the unlikely Walter Matthau as Iago!).
Mann was one of the best-known graduates of "The Golden Age of Television," when live original drama was a staple of network TV. Other showcases he worked for included NBC Repertory Theatre (1949), Ford Star Jubilee (1955) and Playwrights '56 (1955). In 1953 he directed a live teleplay written by another WWII vet, Paddy Chayefsky. The episode of "Goodyear Television Playhouse" starring another vet, the up-and-coming Method actor Rod Steiger, as a lonely butcher named "Marty."
Delbert Mann's name will always be linked to the extraordinary cultural phenomenon that was "Marty," but it was as a film, not as television program, that Chayevsky's 1953 script became legendary, the first blockbuster hit of independent cinema. However, Mann's first recognition from the culture industry didn't come from Chayevsky's "Marty," either on television or film, but from Thornton Wilder's theatrical warhorse about a small burg in New Hampshire, "Our Town."
In 1954, Mann won a Best Director Emmy nomination for the "Producers' Showcase" episode "Our Town," a musical adaptation featuring the young Paul Newman and the singing talents of swinging Frank Sinatra. Ironically, the TV play of "Marty," considered the summit of TV's Golden Age in retrospect, went unrecognized during the nascent industry's awards season, though it did receive an excellent buzz via word of mouth. (The live "Marty" was captured via kinescope, a method of reproduction that involved shooting a 16-mm copy of the broadcast off of a TV monitor for rebroadcast to the West Coast in the days before coast-to-coast TV hookups, let along videotape; such programs were seldom rebroadcast after the initial showing due to the poor quality of the 'scope.) That situation would change once "Marty" moved from New York to Hollywood.
It's said that superstar Burt Lancaster and his producing partner Ben Hecht were looking for a property to generate a tax write-off for their successful indie production company, Hecht-Lancaster. That property was Marty, shot in B+W in the standard Academy ratio of 4:3 in an era when the blockbuster, like Cecil B. DeMIlle's epic remake of "The Ten Commandments," shot in color in the wide-screen processes of CinemaScope, Cinerama and VistaVision, were all the rage. (The box office gross of the 1956 "Ten Commandments," if adjusted for inflation, would rival the grosses generated by the top block busters of the present era.) Color, widescreens and spectacle were considered to be the necessary ingredients to get people out of the house where they were planted in front of the TV and back into the theaters. And here was a low-budget, B+W film with no production values and no stars based on a TV play that had appeared free on TV (Hollywood's great enemy) just two years before!
Remaking "Marty" seemed an honorable way to generate a tax-write off, so the story goes, while associating the company with quality, but Hecht-Lancaster refused to spend much money on it. The budget was limited to just under $350,000. (It's said that "Marty" was the first Oscar-winning film in which the advertising costs exceeded the budget.) Rod Steiger, who did not want to be bound contractually to Hecht-Lancaster, refused to reprise the eponymous title role, so it was turned over to Burt Lancaster's "From Here to Eternity" co-star, 'Ernest Borginine' . Having assayed Fatso Judson and other screen heavies in his brief cinema career, Borgnine had never played a sympathetic supporting character, let alone a lead, on film before.
Possibly due to its unpromising prospects, Burt Lancaster didn't bother putting his name on the picture as a producer, leaving that honor (and the Oscar that lay in "Marty's future) to Hecht. No wonder the success of "Marty" caught everyone flat-footed! It's perhaps the supreme case in Hollywood's checkered flirtation with "quality" cinema that quality not only won out, but more importantly, paid off (and paid off handsomely at that!).
The movie "Marty" was a critical success before it was a commercial success. Shown at the Cannes Film Festival in 1955, it was the first American film to win the Golden Palm (an award which, in the French manner, is shared by its director). In release, the film returned $3 million in rentals ($21 million in 2005 dollars), which was a considerable amount in the mid-1950s. More importantly for Hecht-Lancaster, its low-budget made "Marty" one of the most profitable movies ever made.
The critical recognition and boffo box office made "Marty" a sleeper at the 1956 Academy Awards, at which Mann won the Oscar as Best Director of 1955 and Chayevsky copped the Best Adapted Screenplay trophy. In addition to the original "auteurs," Ernest Borgnine won the Best Actor Oscar and Harold Hecht picked up the gong for Best Picture. Betsy Blair and Joe Mantell also received nominations in Best Supporting Acting categories, and on the technical side, "Marty" was nominated for Best B+W Cinematography (Joseph LaShelle) and Best B+W Art Direction-Set Decoration ( Ted Haworth, Walter M. Simonds, Robert Priestley). Until Sam Mendes duplicated the feat in 2000, Mann was the only director to win an Oscar for his first film.
Though he could not know it then, "Marty" was the highpoint of Mann's career. While Chayevsky went on to win two more Oscars, Mann never won another Oscar nomination, though he did pick up two more Emmy nominations in 1972 and 1980 during his productive career. More significantly, Delbert Mann had the respect of his peers: in addition to his three subsequent Directors Guild of America nominations to go along with his win for "Marty," the DGA honored him with its Robert B. Aldrich Achievement Award in 1997 and an Honorary Life Membership in 2002.- Actor
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Marcel Marceau was the legendary mime, who survived the Nazi occupation, and saved many children in WWII. He was regarded for his peerless style pantomime, moving audiences without uttering a single word, and was known to the World as a "master of silence."
He was born Marcel Mangel on March 22, 1923, in Strasbourg, Alsace, France, and was brought up in Strasbourg and Lille. There he was introduced to music and theatre by his father, Charles Mangel, a kosher butcher, who also sang baritone and was a supporter of arts and music. His mother, Anne Mangel (née Werzberg), was a native Alsatian, and the family was bilingual. At the age of 5, his mother took Marcel to a Charlie Chaplin's movie, and he was entranced and decided to become a mime. Young Marcel was also fond of art and literature, he studied English in addition to his French and German, and became trilingual.
At the beginning of the Second World War, he had to hide his Jewish origin and changed his name to Marceau, when his Jewish family was forced to flee their home. His father was deported to Auschwitz, where he was killed in 1944. Both Marceau and his brother, Alain, were in the French underground, helping children to escape to safety in neutral Switzerland. Then Marceau served as interpreter for the Free French Forces under General Charles de Gaulle, acting as liaison officer with the allied armies.
Marcel Marceau gave his first big public performance to 3000 troops after liberation of Paris in August of 1944. After the war, in 1946, he enrolled as a student in Charles Dullin's School of Dramatic Art at the Sarah Bernhardt Theatre in Paris. There his teacher was Etienne Decroux, whose other apprentice Jean-Louis Barrault hired Marcel Marceau, and cast him in the role as Arlequin. His biggest inspirations were Charlie Chaplin, Buster Keaton and Marx Brothers. In 1947, blending the 19th century harlequin with the gestures of Chaplin and Keaton, Marceau created his most famous mime character, Bip, a white-faced clown with a tall, battered hat and a red flower. In 1949 he created his own company and toured around the world.
Marcel Marceau shone in a range of characters, from an innocent child, to a peevish waiter, to a lion tamer, to an old woman, and became acknowledged as one of the world's finest mimes. In just a couple of minutes, he could show a metamorphosis of an entire human life from birth to death. Through his alter ego, Bip, he played out the human comedy without uttering a word. His classic silent works such as The Cage, Walking Against the Wind, The Mask Maker, In The Park, and satires on artists, sculptors, matadors, has been described as works of genius. For many years Marceau's 'Compagnie de Mime Marcel Marceau', also known as 'Compagnie de Mimodrame', was the only company of pantomime in the world. Marceau played several silent film roles and only one with a speaking part, as himself, speaking the single word "Non" in Mel Brooks' Silent Movie (1976).
In 1959, Marcel Marceau established his own school in Paris, and later the Marceau Foundation to promote the art of pantomime in the United States. His later performances in 2000-2001 received great acclaim. He was made "Officer de la Legion d'Honneur" (1978) and "Grand Officer de la Legion d'Honneur" (1998), and was awarded the National Order of Merit (1998). He won the Emmy Award for his work on television, and was elected member of the Academy of Fine Arts in Berlin, the Academy of Fine Arts in Munich, the Academie des beaux-arts France and the Institut de France, and was declared "National treasure" in Japan. In 2002 he was UN Goodwill Ambassador at the international conference on aging in Madrid.
His "art of silence" filled a remarkable acting career that lasted over 60 years. He was an actor, director, teacher, interpreter, and public figure, and made extensive tours in countries on five continents. Outside of his mime profession, Marcel Marceau was a multilingual speaker and a great communicator, who surprised many with his flowing speeches in several languages. In his later years he was living on a farm at Cahors, near Toulouse, France. He continued his routine practice daily to keep himself in good form, never losing the agility that made him famous. He also continued coaching his numerous students.
Marcel Marceau passed away at his home in France, on September 23, 2007, like an Autumn leaf after the Autumn Equinox, and after Yom Kippur in Jewish calendar, having the Day of Atonement as his final curtain. His burial ceremony was accompanied by the Mozart's piano concerto No21, and the music of J.C. Bach. Marcel Marceau was laid to rest in the Pere Lachaise cemetery in Paris, France.
He brought poetry to silence.- Before there was a George Lucas and Harrison Ford running around creating special-effects excitement, there was a virile, boyishly handsome actor named Kerwin Mathews who was entertaining audiences battling a variety of creatures courtesy of pioneer special effects guru Ray Harryhausen. Harryhausen's legendary monsters of the late 50s and early 60s earned cult film infamy and it was those wondrous storybook fantasies and the Harryhausen association that also put Kerwin on the Hollywood map.
Born an only child in Seattle, Washington, on January 8, 1926, Kerwin's parents split up while he was quite young and he and his mother relocated to Janesville, Wisconsin. He developed an early interest in acting while performing in high school plays. Following a couple of years in the Army Air Force during WWII, Kerwin studied at Beloit College in Wisconsin on both dramatic and musical scholarships. He later taught speech and drama at the college and also found acting jobs in regional theater. In the early 1950s, after teaching high school English in Lake Geneva, Wisconin, for a few years, he decided to make the big trek to Hollywood to seek out his fame and fortune.
While training at the Pasadena Playhouse, Kerwin met a casting agent for Columbia Pictures and was eventually signed to a seven-year contact after winning over the approval of studio boss Harry Cohn. Finding a number of roles on TV, he acquitted himself quite well with his film debut in 5 Against the House (1955) as one of four college pals (the others being Guy Madison, Brian Keith and Alvy Moore) who decide to carry out a faux casino robbery in Las Vegas, a plan that backfires badly. The offbeat ensemble picture drew good reviews and Kerwin was off and running.
Following decent showings in the crime yarn The Garment Jungle (1957) and war flick Tarawa Beachhead (1958), he found respect as a middleweight talent, but truly came into his own in the Saturday afternoon-styled adventure fantasies popular with the school crowd. An agile fencer with fine all-American looks, he won the opportunity to play the role of the dauntless hero in Columbia's classic The 7th Voyage of Sinbad (1958). Out to rescue fair damsel Kathryn Grant (who later became Mrs. Bing Crosby), he battled everything in his path -- from a colossal, one-eyed Cyclops to a fire-spewing dragon. The final climactic battle scene was his Errol Flynn / Basil Rathbone-like swordplay against a dexterous, sword-swinging skeleton, all courtesy of Harryhausen.
Kerwin worked with Harryhausen's stop-motion creations again in The 3 Worlds of Gulliver (1960) as a doctor whose foes this time around included a giant squirrel and alligator. He then played the countrified folk legend Jack the Giant Killer (1962) and again found himself saving a princess while pitted against evil wizards and other specially-designed effects (by Jim Danforth). Other less arduous films he made included the WWII war drama The Last Blitzkrieg (1959) with Van Johnson, the crime thriller Man on a String (1960) with Ernest Borgnine and his third-billed role behind Spencer Tracy and Frank Sinatra in The Devil at 4 O'Clock (1961) in which he and Tracy played priests.
By the early 1960s Kerwin was typecast in adventure tales and was now searching for work overseas to display his stoic heroics, though his efforts were mostly for naught in such empty spectacles as Italy's The Warrior Empress (1960) ["The Warrior Princess"] opposite Gilligan's Island (1964) star Tina Louise; England's The Pirates of Blood River (1962); and the Franco-Italian co-production Shadow of Evil (1964) ["Panic in Bangkok"]. He fared somewhat better in the British-made Maniac (1963) in a change-of-pace role and received some of his best notices on TV playing composer Johann Strauss Jr. in Disney's 1963 TV biopic The Waltz King: Part 1 (1963) (and "Part 2").
Kerwin's career ended in 1978 after making a small sprinkling of appearances in low-budget sci-fi and horror films, plus some TV guest appearances throughout the decade. By this time he had already moved to San Francisco and spent his later years selling antiques and furniture. He was also a stalwart patron of the arts and supporter of the city's various opera and ballet companies. Kerwin died overnight in his sleep at age 81 in his San Francisco home, survived by his partner of 46 years Tom Nicoll. - Everyone knows (or should know) Lois Maxwell as the one and only "Miss Moneypenny," but there's much more to her acting career than that. She started out against her parents' will, and without their knowledge, in a Canadian children's radio program, credited as "Robin Wells." Before the age of 15 she left for England with the Canadian army's Entertainment Corps and managed (after her age had been discovered) to get herself enrolled in The Royal Academy of Dramatic Art, where she met and became friends with Roger Moore. Her movie career started with a Michael Powell and Emeric Pressburger production, A Matter of Life and Death (1946). After having won The Most Promising Newcomer Golden Globe Award in 1947, she went to Hollywood and made six films before she decided to try her luck in Italy. She had to leave Italy to go to England when her husband became ill, and since then she has had roles in a number of movies besides the first 14 Bond movies. In 1989 she retired.
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Born New York City, moved to Hollywood 1947, started at Columbia Pictures 1949, worked at Warner Bros., Paramount, MGM, 20th Century Fox, RKO, Disney, Universal. Nominated for Academy Awards on Star Trek the Motion Picture and Terms of Endearment.- Actor
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A genial, well-respected, all-around "nice guy", the breezily handsome Barry Nelson was born Haakon Robert Nielsen on April 16, 1917, in San Francisco, California, to Betsy (Christophersen) and Trygve "Ted" Nielsen, both Norwegian immigrants. He was raised in nearby Oakland and graduated from the University of California at Berkeley in 1941. A talent scout from MGM caught Barry in a college production of "Macbeth" and quickly sized up his potential. Cast in earnest secondary roles including Shadow of the Thin Man (1941) and Dr. Kildare's Victory (1942), he was assigned the lead in the war film A Yank on the Burma Road (1942). Serving in WWII, he appeared in the Moss Hart play "Winged Victory", in what would become his Broadway debut, in 1943 and a year later he appeared as "Corporal Barry Nelson" in the 1944 film version of the play. Barry lost major ground in films during the post-war years, but certainly made up for it on the live stage by appearing in a string of New York successes ranging from "The Rat Race" to "The Moon Is Blue."
On TV, in addition to becoming a trivia statistic in the Hollywood annals as being the first to give video life to Ian Fleming's "007" agent James ("Jimmy") Bond in a one-hour production of "Casino Royale" in Climax! (1954), Barry lit up the small screen in such dramatic programs as Alfred Hitchcock Presents (1955) and, in particular, a memorable episode of The Twilight Zone (1959). He also starred in the series The Hunter (1952), a Cold War adventure, and My Favorite Husband (1953), in which he played the level-headed mate and "straight man" to daffy blonde Joan Caulfield. In the 1960s he continued to demonstrate his acting muscle on stage and TV, although he did manage to preserve on film his starring role in Mary, Mary (1963), a huge Broadway hit with Debbie Reynolds co-starring in place of stage partner Barbara Bel Geddes. The lightweight play "Cactus Flower" with Lauren Bacall was another bright vehicle, but star Walter Matthau's clout cost Barry the part when it went to film. Through it all Barry remained a thoroughly solid professional, particularly in the realm of TV-movies. Such standouts include his neighbor/undercover agent to criminals-on-the-run Don Murray and Inger Stevens in The Borgia Stick (1967) and his blind plane crash survivor in Seven in Darkness (1969).
The 1970s proved a very good decade indeed for Barry theater-wise with "Seascape," "The Norman Conquests" and Liza Minnelli's "The Act" among his pleasures, the last-mentioned earning him a Tony nomination. Despite co-starring roles in the blockbuster hit Airport (1970) and comedy Pete 'n' Tillie (1972), the silver screen would not become his strong suit in later years. By the early 1990s he had fully retired.
A popular, clean-cut, down-to-earth "Average Joe" with a charmingly sly side, you just couldn't help but like Barry Nelson. Although he certainly could play the deceptive villain when called upon, he was usually the kind of guy you'd root for having as a neighbor, pal or business partner. Divorced from actress Teresa Celli for quite some time and completely retired now, he and second wife Nansilee (they married in 1992) traveled extensively and enjoyed antique shopping in particular. In 2007, during one of their many excursions, Barry passed away quietly at age 89 at a hotel in Bucks County, Pennesylvania.- Actress
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This most consummate, vibrant and versatile actress established a distinguished reputation on the stage, in films and on TV. The former Miss Chicago of 1948 beauty pageant winner and Miss America semifinalist was born in Oak Park, Illinois. Her family was impoverished and her parents divorced early on. Young Lois used make-believe to escape her reality by creating small plays in her backyard, which led to an affinity with the idea of acting. Having set her sights on the stage she joined a community theatre at the tender age of eleven and appeared on local radio and television. She later continued her training at Chicago's Goodman Theatre and then studied 'the method' at the Actors' Studio in New York City, eventually making her Broadway debut in Dalton Trumbo's "The Biggest Thief in Town" (1948) using the stage moniker "Lydia Scott" (her given name, she felt, was too plain and sounded "schoolmarmy").
Lois was understudy to Barbara Bel Geddes for the role of "Maggie the Cat" in the original 1955 Broadway production of Tennessee Williams's Pulitzer-Prize winning "Cat on a Hot Tin Roof", staged by Elia Kazan. Occasionally, she got to play "Maggie", herself. Of her (own personal favourite) role as Blanche DuBois in the 1973 stage production of "A Streetcar Named Desire", New York Times critic Clive Barnes wrote: ""Miss Nettleton plays Blanche as a woman of nearly unshatterable courage." Williams himself called her one of the greatest actresses with whom he had ever worked. Not surprisingly then, that the self-confessed method actress went on to win the prestigious Clarence Derwent Award for her performance in "God and Kate Murphy".
Lois was married for seven years to Jean Shepherd, a radio host and television humorist. She and Shepherd clicked after she called his nightly radio show at WOR in the 1950s and the beguiled Shepherd broadcast their telephone conversations on the air. They later appeared together in Shepherd's off-Broadway play "Look Charlie" in 1959.
While her official film debut came in the 1962 adaptation of Tennessee Williams's "Period of Adjustment", Lois had previously played a bit part in Elia Kazan's classic A Face in the Crowd (1957), scripted by Budd Schulberg. She subsequently acted in many movies, but most of her best work was on stage and in television where she appeared in everything from sitcoms to soap operas. In a 1985 interview she referred to herself as 'a gypsy actress', saying "I always wanted to be as different in everything as possible". Consistently selective, on the lookout for 'interesting' characters and mature roles to play, she tackled pretty much every genre -- even playing one of Londo Mollari's bitchy wives in Babylon 5 (1993). She gave a particularly fine performances in the classic 1961 "Midnight Sun" episode of The Twilight Zone (1959). She declared her own personal favourite screen role to have been that of the Israeli prosecutor (opposite Maximilian Schell) in the American Film Theater production of The Man in the Glass Booth (1975). Roger Ebert for the New York Times wrote "She has a steadiness and intelligence and doesn't back down. She's the closest thing the film has to a moral center."
A charming and gracious actress, Lois was nominated six-times for Emmy Awards. She won twice for her TV work: for the daytime special The American Woman: Portraits of Courage (1976) and for "A Gun for Mandy" (1983), an episode of the syndicated religious anthology Insight (1960).- Actress
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Suzanne Pleshette achieved television immortality in her role as Bob Newhart's wife in the 1970s classic situation comedy, The Bob Newhart Show (1972). For her role as "Emily Hartley," wife of psychologist "Bob Hartley" (played by Bob Newhart), Pleshette was nominated for the Emmy Award twice, in 1977 and 1978. She was also nominated for an Emmy in 1962 for a guest appearance on the TV series, Dr. Kildare (1961) and, in 1991, for playing the title role in Leona Helmsley: The Queen of Mean (1990) in a 1990 TV movie. Her acting career lasted almost 50 years.
Suzanne Pleshette was born on January 31, 1937, in New York, New York, to Gene Pleshette, a TV network executive who had managed the Paramount Theaters in Manhattan and Brooklyn during the Big Band era, and the former Geraldine Kaplan, a dancer who performed under the pseudonym Geraldine Rivers. Pleshette claims that she was not an acting natural, but just "found" herself attending New York City's High School of the Performing Arts. After graduating high school, she attended Syracuse University for a semester before returning to NYC to go to Finch College, an elite finishing school for well-to-do young ladies. After a semester at Finch, Pleshette dropped out of college to take lessons from famed acting teacher Sanford Meisner at the Neighborhood Playhouse.
She made her Broadway debut in 1957 as part of the supporting cast for the play Compulsion (1959). Initially cast as "The Fourth Girl," she eventually took over the ingénue role during the play's run.
Blessed with beauty, a fine figure, and a husky voice that made her seem older than her years, she quickly achieved success on both the small and big screens. She made her TV debut, at age 20, in Harbourmaster (1957), then was chosen as the female lead opposite superstar Jerry Lewis in his 1958 comedy, The Geisha Boy (1958). On Broadway, she replaced Anne Bancroft in the Broadway hit The Miracle Worker (1962).
Once Pleshette started acting, her career never lagged until she was afflicted with cancer.
Her most famous cinematic role was in Alfred Hitchcock's classic, The Birds (1963), as the brunette schoolteacher jilted by the hero of the film, "Mitch Brenner" (played by Rod Taylor). Pleshette's warm, earthy character was a perfect contrast to the icy blonde beauty, "Melanie Daniels" (Tippi Hedren).
Frankly, it is hard to understand how Taylor's Mitch would jilt Pleshette's Annie, other than to work out Hitchcock's dark vision of society and psychosexual relations between the sexes, in which amoral blondes triumph for aesthetic rather than moral reasons.
Still, it is for Emily Hartley she will always be remembered, for both the original show and her part in another show that had the most clever sign-off episode in TV series history. Bob Newhart had enjoyed a second success during the 1980s with his TV sitcom Newhart (1982), and when he decided to end that series, he asked Suzanne Pleshette to come back. She did, reprising her tole of Emily in a final episode of Newhart, where Newhart woke up as Bob Hartley from "The Bob Newhart Show" in the bedroom of the Hartley's Chicago apartment, Pleshette's Emily at his side. Bob Hartley then told his wife Emily of a crazy dream he'd just had, where he was the proprietor of a Vermont inn overrun with eccentrics, the premise of the second show.
After "The Bob Newhart Show" ceased production, Suzanne Pleshette worked regularly on television, mostly in TV movies. Although she was a talented dramatic actress, she had a flair for comedy and, in 1984, she headlined her own series at CBS. She helped develop the half-hour sitcom, and even had the rare honor of having her name in the title. Suzanne Pleshette Is Maggie Briggs (1984), however, was not a success. She co-starred with Hal Linden in another short-lived CBS TV series, The Boys Are Back (1994), in the 1994-95 season, then had recurring roles in the TV series Good Morning, Miami (2002) and 8 Simple Rules (2002).
Pleshette was married three times: In 1964, she wed teen idol Troy Donahue, her co-star in the 1962 film Rome Adventure (1962) and in 1964's A Distant Trumpet (1964), but the marriage lasted less than a year. She was far more successful in her 1968 nuptials to Texas oil millionaire Tommy Gallagher, whom she remained married to until his death in 2000. After becoming a widow, she and widower Tom Poston (a Newhart regular) rekindled an old romance they had enjoyed when appearing together in "The Golden Fleecing," a 1959 Broadway comedy. They were married from 2001 until Poston's death, in April 2007.
Pleshette was diagnosed with lung cancer and underwent chemotherapy in the summer of 2006; she rallied, but in late 2007, she barely survived a bout of pneumonia. She died of respiratory failure on January 19, 2008, a few days shy of her 71st birthday.
Suzanne Pleshette was remembered as a gregarious, down-to-earth person who loved to talk and often would regale her co-stars with a naughty story. Newhart and his producers had picked her for the role of Emily in "The Bob Newhart Show" after watching her appearances with Johnny Carson on The Tonight Show Starring Johnny Carson (1962), where she showed herself to be a first-rate raconteuse. Because she could hold her own with Newhart's friend Carson, it was felt she would be a perfect foil as Newhart's TV wife.
She accepted the part, and TV history was made.- Actor
- Writer
- Producer
Brad Renfro was born on July 25, 1982 in Knoxville, Tennessee, to Angela Denise McCrory and Mark Renfro, a factory worker. He was discovered at age 10 by director Joel Schumacher and was cast in the motion picture The Client (1994), which starred Susan Sarandon and Tommy Lee Jones. Although this would be his zenith, he went on to appear in other films, including The Cure (1995), Tom and Huck (1995), Sleepers (1996), and Apt Pupil (1998). Renfro won The Hollywood Reporter's Young Star Award in 1995 and was nominated as one of People magazine's "Top 30 Under 30," though addiction problems in his teens and early 20s led to several police arrests and hampered his career. He died of a drug overdose in January 2008, aged 25.- Director
- Producer
- Production Manager
Stuart Rosenberg was born on 11 August 1927 in Brooklyn, New York City, New York, USA. He was a director and producer, known for Cool Hand Luke (1967), Question 7 (1961) and The Defenders (1961). He was married to Margot Pohoryles. He died on 15 March 2007 in Beverly Hills, Los Angeles, California, USA.Not featured in either the Oscars Memoriam or TCM Remembers- Physical Education major Gordon Weschkul left the University of Oregon after one term. He became an infantry drill instructor (rifle, pistol and bayonet; judo and hand-to-hand combat; close order drill), then a military policeman. After his honorable discharge in 1947, he was a fireman, cowboy, and farm machinery salesman. In 1953, a Las Vegas lifeguard, he was spotted by a pair of Hollywood agents who introduced him and his 19-inch biceps to Sol Lesser, who had already conducted 200 tests in search of a new Tarzan. The producer gave him a seven-year contract and a new last name. His three MGM Tarzans were run-of-the mill, but his two for Sy Weintraub, through Paramount, marked a rebirth of the Tarzan character. The movies were well received. Weintraub was looking for a leaner, more thoughtful Tarzan so Scott moved on to a number of Italian strong-man spectaculars and spaghetti westerns, becoming a sensation in Europe.
- Writer
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- Actor
The first film director from an African country to achieve international recognition, Ousmane Sembene remains the major figure in the rise of an independent post-colonial African cinema. Sembene's roots were not, as might be expected, in the educated élite. After working as a mechanic and bricklayer, he joined the Free French forces in 1942, serving in Africa and France. In 1946, he returned to Dakar, where he participated in the great railway strike of 1947. The next year he returned to France, where he worked in a Citröen factory in Paris, and then, for ten years, on the dock in Marseilles. During this time Sembene became very active in trade union struggles and began an extraordinarily successful writing career. His first novel, "Le Docker Noir", was published in 1956 to critical acclaim. Since then, he has produced a number of works which have placed him in the foreground of the international literary scene. Long an avid filmgoer, Sembene became aware that to reach a mass audience of workers and preliterate Africans outside urban centers, cinema was a more effective vehicle than the written word. In 1961, he traveled to Moscow to study film at VGIK and then to work at the Gorky Studios. Upon his return to Senegal, Sembene turned his attention to filmmaking and, after two short films, he wrote and directed his first feature, Black Girl (1966)(english title: Black Girl). Received with great enthusiasm at a number of international film festivals, it also won the prestigious Jean Vigo Prize for its director. Shot in a simple, quasi-documentary style probably influenced by the French New Wave, BLACK GIRL tells the tragic story of a young Senegalese woman working as a maid for an affluent French family on the Riviera, focusing on her sense of isolation and growing despair. Her country may have been "decolonized," but she is still a colonial -- a non-person in the colonizers' world. Sembene's next film, Mandabi (1968) (english title: The Money Order), marked a sharp departure. Based on his novel of the same name and shot in color in two language versions--French and Wolof, the main dialect of Senegal--THE MONEY ORDER is a trenchant and often delightfully witty satire of the new bourgeoisie, torn between outmoded patriarchal traditions and an uncaring, rapacious and inefficient bureaucracy. Emitai (1971) records the struggle of the Diola people of the Casamance region of Senegal (where Sembene grew up) against the French authorities during WWII. Shot in Diola dialect and French from an original script, EMITAI offers a respectful but unromanticized depiction of an ancient tribal culture, while highlighting the role of women in the struggle against colonialist oppression. In Xala (1975), Sembene again takes on the native bourgeoisie, this time in the person of a rich, partially Westernized Moslem businessman afflicted by "xala" (impotence) on the night of his wedding to a much younger third wife. Outsiders (1977), considered by many to be Sembene's masterpiece, departs from the director's customary realist approach, documenting the struggle over the last centuries of an unspecified African society against the incursions of Islam and European colonialism. Featuring a strong female central character, CEDDO is a powerful evocation of the African experience.- Actor
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- Producer
As accomplished and versatile the well-loved French actor Michel Serrault proved to be over the course of five decades, American audiences still remember this actor for one role only - that of the neurotic, outrageously flamboyant drag performer Albin (aka Zaza) in the side-splitting French gay farce La Cage aux Folles (1978). Opposite Italian actor Ugo Tognazzi as his more subdued partner/manager Renato, the unambiguously gay duo easily became one of the most well-received matchups ever on celluloid both here and abroad. Forget Felix and Oscar or even the Scarlett and Rhett coupling, this pair managed to turn La Cage aux Folles (1978) not only into the cult film classic it is today, but made it one of America's largest cross-over European hits ever.
Born in Brunoy, France on January 24, 1928, Serrault initially had a calling to join the priesthood. After entering the seminary, he quickly realized there would be a conflict with the vow of celibacy and left. The love of performing must have also been a strong factor as he quickly changed the course of his destiny and taking up dramatic studies in Paris. His career began on the cabaret stage and as a singing apprentice and member of Robert Dhery's theater troupe before its focus shifted to filmmaking in the mid-50s. Making his film debut in 1954, one of his earliest films was in Henri-Georges Clouzot's masterpiece thriller Diabolique (1955) starring Simone Signoret in a featured part.
From there he developed into a supremely talented performer who went on to appear in hundreds of character film studies, With a chameleon-like approach to his work, he proved himself not only a gifted and witty farceur but a dark and compelling dramatic actor capable of going to extreme depths in order to play a character. A successful partnership on stage and in film with the late writer/actor Jean Poiret, which included his huge international hit La Cage aux Folles (1978) and its first sequel, enhanced the respect he earned over the years. Serrault seldom ventured outside the realm of Gallic filming, which explains why he has not been a strong foreign name in America.
He has been a recipient of many awards for his work. In France he has the distinction of being a three-time "Best Actor" César winner for La Cage aux Folles (1978), The Grilling (1981) and, more recently, his retired judge in Nelly & Monsieur Arnaud (1995). Like fine wine, Serrault continued to age well as an actor while continuing to stay on top of his craft with such marvelous performances as his grifter alongside Isabelle Huppert in Claude Chabrol's L'entourloupe (1980), the titular serial killer Dr. Petiot (1990), the white-haired old timer opposite film icon Jeanne Moreau in The Old Lady Who Walked in the Sea (1991) and his farmer in The Girl from Paris (2001). He died on July 29, 2007 of cancer and was survived by his wife Juanita and actress/daughter Nathalie Serrault- Writer
- Director
- Additional Crew
Melville Shavelson was born on 1 April 1917 in Brooklyn, New York City, New York, USA. He was a writer and director, known for The Five Pennies (1959), Houseboat (1958) and The Seven Little Foys (1955). He was married to Ruth Lafaye Florea and Lucille (Lucy) T. Myers. He died on 8 August 2007 in Studio City, California, USA.- Make-Up Department
- Actor
William Tuttle was born in Jacksonville, Florida, in 1911. At the age of 15 he was forced to leave school in order to earn a living so he could support his mother and younger brother, Thomas Tuttle. His music background got him work with comedy teams and a burlesque orchestra and, finally, his own band.
At age 18 he moved to Hollywood, California. He eventually ended up working at Fox studios. He became an apprentice to Jack Dawn, head of makeup at Twentieth-Century Pictures. Seven months later Twentieth Century closed down for the summer in 1934 and Bill went to MGM to continue his apprenticeship.
Fox hired Bill as a makeup artist after seeing the work he had done at MGM. He worked on three films for Fox before returning to MGM, and made it his home for 35 years. For eight years he worked as an assistant to Jack Dawn (by then head makeup artist at MGM) and, after Jack retired, he became the head of the department for over 20 years.
William Tuttle and Charles H. Schram both worked on The Time Machine (1960). Bill had taken a trip to the San Diego Zoo and got the idea to use the fur of an East African species of monkey for the fur of the Morlocks. He won an honorary Oscar in April 1965 for his work on George Pal's 7 Faces of Dr. Lao (1964). He has taught at the USC film school and created his own line of cosmetics, Custom Color Cosmetics.- Actress
- Soundtrack
Miyoshi Umeki was born as the youngest of 9 children. The daughter of a prominent Japanese iron factory owner, she developed an early passion for music, learning to play the mandolin, harmonica & piano. She also enjoyed singing American-styled tunes, much to the chagrin of her parents. This propensity for Americanized pop songs later paid off.
Although she projected the typical Japanese female stereotype of humbleness, delicacy & subservience in most of her prime film & stage roles, she was nevertheless an assertive scene-stealer. This docile & deceptive-looking talent w/ cropped hair as well as a heart-shaped face radiated charm in addition to innocence so effortlessly, she managed to make history at Academy Awards time as the 1st Asian actor to receive an acting Oscar for her superb work in the tragic post-WWII film drama Sayonara (1957).
Following World War II, she traveled w/ a U.S. Army G.I. jazz band in Japan as Nancy Umeki & was the 1st to record American songs for RCA Victor Japan. She became an extremely popular radio & nightclub artist, which sparked a move to the U.S. in 1955. Again, she demonstrated a demure prowess for gaining attention w/ her 1-season regular role (1955-1956) on the musical variety show Arthur Godfrey and His Friends (1949). W/ that popularity, she was able to sign w/ Mercury Records, eventually releasing 2 albums.
The timing couldn't have been more perfect. From this recognition, she was immediately cast in Sayonara (1957), which was based on James A. Michener's best-selling romantic tale. Inspired casting opposite comedian Red Buttons in a tragic, counterpoint romance as a World War II airman & his naive Japanese war bride who fall victim to post-war prejudice led to supporting Academy Awards for both actors. Despite her win, she would not make another film for 4 years.
Following her Oscar win, she starred on Broadway w/ the 1958 musical Flower Drum Song, in which she proved a highlight as a starry-eyed Chinese immigrant/mail-order bride w/ her captivating rendition of A Hundred Million Miracles, earning a Tony nomination in the process. She scored additional points after recreating her role for the film version of Flower Drum Song (1961).
In total, she made only 5 American films in all. Her other appearances were supporting roles in the naval comedy Cry for Happy (1961), The Horizontal Lieutenant (1962) & A Girl Named Tamiko (1962). She also tread fairly lightly on TV w/ random 60s appearances on The Donna Reed Show (1958), Dr. Kildare (1961), Rawhide (1959) & Mister Ed (1961), among others.
Duing the 50s & 60s, she was an occasional guest on variety shows for TV titans such as Perry Como, Dinah Shore, Merv Griffin, Andy Williams & Ed Sullivan. Arguably her biggest claim to fame was Mrs. Livingston in the heart-tugging TV comedy The Courtship of Eddie's Father (1969). Following this renewed attention, she went into a complete self-imposed retirement.
She lived a sedate family life for more than 3 decades. Her 1958 marriage to TV producer/director Win Opie ended in divorce after 9 years. She subsequently married TV director Randall Hood in 1968. They ran a business renting editing equipment to film studios & university film programs until his sudden death in Los Angeles in 1976. A longtime resident of North Hollywood, she eventually moved to Missouri w/ advancing age to be nearer to her son & his family. She died of cancer at age 78 on August 28, 2007 in Licking, Missouri.- Actress
- Producer
- Writer
The original glamour ghoul herself, "Vampira", of late night 1950s television, was actually born Maila Syrjäniemi (later changed to the easier surname Nurmi) on December 11, 1922 in Gloucester, Massachusetts (not Finland as she often claimed). Her uncle was the multiple Olympic medal runner Paavo Nurmi.
It was director Howard Hawks, of all people, who discovered Maila while she was performing in Mike Todd's Grand Guignol midnight show "Spook Scandals". Hawks escorted the lovely blonde beauty to Hollywood with the hopes of grooming her into the next Lauren Bacall. Cast in the film version of the Russian novel "Dreadful Hollow", the project was put on hold so many times that Maila walked out of her contract in frustration. She became a cheesecake model and an Earl Carroll dancer for several years in his revues, sharing a chorus line at one time with future burlesque stripper Lili St. Cyr.
Married at the time to child actor-turned-screenwriter Dean Riesner, she came up with the idea of "Vampira" at a masquerade contest where she based her costume on Charles Addams' New Yorker cartoons. Heavily painted up with long fingernails, a mane of raven-colored hair, and slim-waisted black attire, the Morticia gimmick won the best costume award that night... and more. She caught the attention of local television and was placed under contract to Channel 7 in Hollywood to see if she could encourage late night viewers to stay up and watch its regular programming of cheapjack horror schlock. The macabre madam was a genuine hit (for one season, at least, in 1954-55), adding a sexy nuance and silly double entendres to her campy horror set.
She earned an Emmy Award nomination in 1954 for "Most Outstanding Female Personality". Fan clubs sprouted up all over the world. She appeared in "Life", "TV Guide" and "Newsweek" magazine articles, and could be seen around and about town and in Las Vegas judging contests and making variety special appearances. Songs were written about the "Queen of Horror". She even appeared with arms outstretched and ghoulishly attired in the worst cinematic failure of all time, Edward D. Wood Jr.'s Plan 9 from Outer Space (1957), as Bela Lugosi's zombie-like mate, for which she is infamously associated. Lugosi actually was a huge fan of hers and had always wanted to work with her. Wood shot some footage of her years later as a tribute to Lugosi (he died in 1956 during filming) and added it before the film's release.
By the late 1950s, Maila's extended "15 minutes" of fame was over. With her career at stake (pun intended), she stretched things out with haphazard appearances in abysmal movies [The Beat Generation (1959); Sex Kittens Go to College (1960)] before closing the lid permanently on "Vampira". In later years, Maila divorced her writer/husband and became passionately involved in animal protection rights. A painter on the sly, she created some "Vampira" portraits that became a collector's item. Living very modestly in Southern California, she appeared in a small gag cameo in the film I Woke Up Early the Day I Died (1998). Malia Nurmi died at age 85 of natural causes at her home in Los Angeles, California on January 10, 2008.Nurmi was originally excluded for the original 80th ceremony Memoriam but was later added for the next ceremony tribute. Here, i decided to included her in this event's tribute- Make-Up Department
Montague George Westmore (12 June 1923 - 13 November 2007; age 84), credited as Monty Westmore, was a makeup artist on Star Trek: First Contact and Star Trek: Insurrection. Part of the third generation of Westmore family of makeup artists, he was the brother of Marvin G. Westmore veteran Blade Runner makeup artist, Star Trek makeup artist Michael Westmore and the husband of another frequent Trek makeup artist, June Westmore.
He began his makeup career at Warner Bros. in 1943 as an apprentice to his uncle, Perc Westmore. From 1950 through 1957, he worked at Universal Studios. Westmore then served as a makeup artist on the classic, long-running comedy series The Adventures of Ozzie & Harriet during the show's last seven years (1959-66). He was also actress Joan Crawford's personal makeup artist on the films What Ever Happened to Baby Jane? (1962) and Straight-Jacket (1964).
He later became the favored makeup artist of actor Paul Newman, working on seventeen of Newman's films over twenty-nine years, from 1971's Sometimes a Great Notion (directed by Newman and also featuring Michael Sarrazin) through 2000's Where the Money Is. Other films on which Westmore worked with Newman include The Towering Inferno (1974), The Drowning Pool (1975, featuring Richard Derr, Andrew Robinson and Gail Strickland), The Verdict (1982), The Color of Money (1986, also starring Bill Cobbs), Fat Man and Little Boy (also starring Dwight Schultz), The Hudsucker Proxy (1994, also with Roy Brocksmith, Bill Cobbs, Christopher Darga, and Noble Willingham), and Message in a Bottle (1999, co-starring John Savage and Raphael Sbarge).
Westmore also worked with Newman on two films directed by Robert Altman, 1976's Buffalo Bill and the Indians, or Sitting Bull's History Lesson (co-starring Robert DoQui, Joel Grey and Bert Remsen) and 1979's Quintet. Westmore did makeup on three other Robert Altman films: 1977's 3 Women (with Robert Fortier and Sierra Pecheur), 1978's A Wedding (with Fortier, Paul Dooley, Dennis Christopher, Gavan O'Herlihy and Bert Remsen), and 1980's HealtH (with Fortier, Dooley, Henry Gibson, Georgann Johnson and Alfre Woodard).
Westmore was nominated for an Academy Award for his work on the 1991 film Hook, which he shared with Greg Cannom and Christina Smith. He also received Emmy Award nominations for his work on the TV movies Who Will Love My Children? (1983) and The Late Shift (1996). His other makeup credits include Airplane II: The Sequel (starring William Shatner), Stand by Me (starring Wil Wheaton), Alien Nation, Funny About Love (directed by Leonard Nimoy), Chaplin, Jurassic Park, The Shawshank Redemption, Se7en, and U.S. Marshals (directed by Stuart Baird). His final credit was 2000's How the Grinch Stole Christmas.
Westmore died due to Alzheimer's Disease at the Motion Picture & Television Country House and Hospital in Woodland Hills, California on 13 November 2007.- Stunts
- Actor
Jack Williams was born on 15 April 1921 in Butte, Montana, USA. He was an actor, known for Innerspace (1987), Wild Wild West (1999) and Remo Williams: The Adventure Begins (1985). He was married to Clare. He died on 10 April 2007 in Sylmar, California, USA.- Actress
- Writer
- Producer
Jane Wyman was born Sarah Jane Mayfield on January 5, 1917, in St. Joseph, Missouri (she was also known later as Sarah Jane Fulks). When she was only eight years old, and after her parents filed for divorce, she lost her father prematurely. After graduating high school she attempted, with the help of her mother, to break into films, but to no avail. In 1935, after attending the University of Missouri, she began a career as a radio singer, which led to her first name change to Jane Durrell. In 1936 she signed a contract with Warner Bros. Pictures and that led to another name change, the more familiar one of Jane Wyman. Under that name she appeared in "A" and "B" pictures at Warners, including two with her future husband, Ronald Reagan: Brother Rat (1938) and its sequel, Brother Rat and a Baby (1940). In the early 1940s she moved into comedies and melodramas and gained attention for her role as Ray Milland's long-suffering girlfriend in The Lost Weekend (1945). The following year she was nominated for a Best Actress Oscar for her role as Ma Baxter in The Yearling (1946), and won the coveted prize in 1949 as deaf-mute rape victim Belinda MacDonald in Johnny Belinda (1948). She followed that with a number of appearances in more prestigious films, such as Alfred Hitchcock's Stage Fright (1950), Frank Capra's Here Comes the Groom (1951), Michael Curtiz's The Story of Will Rogers (1952) and the first movie version of The Glass Menagerie (1950). She starred opposite Bing Crosby in the musical Just for You (1952). She was Oscar-nominated for her performances in The Blue Veil (1951) and Magnificent Obsession (1954). She also starred in the immensely popular So Big (1953), Lucy Gallant (1955), All That Heaven Allows (1955) and Miracle in the Rain (1956). In addition to her extensive film career, she hosted TV's Jane Wyman Presents the Fireside Theatre (1955) and starred in most of the episodes of the show, which ran for three seasons. She came back to the big screen in Holiday for Lovers (1959), Pollyanna (1960) and her final film, How to Commit Marriage (1969). Although off the big screen, she became a presence on the small screen and starred in two made-for-TV movies, including The Incredible Journey of Doctor Meg Laurel (1979). In early 1981, in the 49th year of her career, she won the role of conniving matriarch Angela Channing Erikson Stavros Agretti in the movie "The Vintage Years", which was the unaired pilot for the prime-time soap opera Falcon Crest (1981), later in the year. For nine seasons she played that character in a way that virtually no other actress could have done, and became the moral center of the show. The show was a ratings winner from its debut in 1981, and made stars out of her fellow cast members Robert Foxworth, Lorenzo Lamas, Abby Dalton and Susan Sullivan. At the end of the first season the story line had her being informed that her evil son, played by David Selby, had inherited 50% of a California newspaper company, and the conflicts inherent in that situation led to even bigger ratings over the next five years. Wyman was nominated six times for a Soap Opera Digest Award, and in 1984 she won the Golden Globe for Best Performance by an Actress in a TV Series Drama. By the show's eighth season, however, she was emotionally drained and the strain of constantly working to keep up the quality of a hit show took its toll on her. In addition, there was friction on the set among cast members. All of these events culminated in her departure from the show after the first two episodes of the ninth season (her character was hospitalized and slipped into a coma) for health reasons. After a period of recuperation, she believed that she had recovered enough to guest-star in the last three episodes of the season (her doctor disagreed, but she did it anyway). She then guest-starred as Jane Seymour's mother on Dr. Quinn, Medicine Woman (1993) and three years later appeared in Wild Bill: Hollywood Maverick (1995). In the late 1990s she purchased a home in Rancho Mirage, California, where she lived in retirement. Her daughter, Maureen Reagan (who died in August 2001), was a writer who also involved herself in political issues and organized a powerful foundation. Also, she placed her 3200-sq.-ft. Rancho Mirage condominium on the market. Jane Wyman died at the age of 90, at her Palm Springs, California home, on September 10, 2007, having long suffered from arthritis and diabetes. It was reported that Wyman died in her sleep of natural causes at the Rancho Mirage Country Club.- Music Department
- Editor
- Producer
Peter Zinner was born on 24 July 1919 in Vienna, Austria. He was an editor and producer, known for The Deer Hunter (1978), The Godfather (1972) and An Officer and a Gentleman (1982). He was married to Christa Zinner. He died on 13 November 2007 in Santa Monica, California, USA.