TCM Remembers - First Spots
These are individuals who were featured as first spots in each years of TCM Remembers.
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- Actress
- Soundtrack
Eva Gabor was born on February 11, 1919 in Budapest, Hungary, to Jolie Gabor (née Janka Tilleman) and Vilmos Gabor (born Farkas Miklós Grün), a soldier. Her older siblings were Magda Gabor, an actress, and Zsa Zsa Gabor, an actress and socialite. Her parents were both from Jewish families. She went to Hollywood, California, to act in the 1930s. Her mother escaped from Nazi-occupied Budapest in the 1940s, also settling in the U.S.
Eva appeared both in films and on Broadway in the 1950s, as well as in several "A"-movies, including The Last Time I Saw Paris (1954), starring Elizabeth Taylor, and Artists and Models (1955), which featured Dean Martin and Jerry Lewis.
In 1953, she was given her own television talk show, The Eva Gabor Show (1953). Throughout the rest of the 1950s and early 1960s, she appeared on television and in movies. She appeared on one episode of the mystery series Justice (1954), and was on the game show What's My Line? (1950) as the "mystery challenger". Her film appearances during this period include a remake of My Man Godfrey (1957), Gigi (1958) and It Started with a Kiss (1959).
However, she is best remembered as Lisa Douglas, the socialite turned farm wife on Green Acres (1965) with co-star Eddie Albert playing her attorney husband Oliver Wendell Douglas. Eva Gabor died at age 76 from respiratory failure and pneumonia on July 4, 1995 in Los Angeles, California.Actress - 1995- Actress
- Additional Crew
- Soundtrack
Eileen Evelyn Greer Garson was born on September 29, 1904 in London, England, to Nancy Sophia (Greer) and George Garson, a commercial clerk. Of Scottish and Ulster-Scots descent, Garson displayed no early interest in becoming an actress. Educated at the University of London intending to become a teacher, she opted instead to take a job at an advertising agency. During her off hours she appeared in local theatrical productions, gaining a reputation as an extremely talented and charismatic performer. During a stage production of "Old Music," Garson was offered a studio contract by MGM Vice President of Production Louis B. Mayer while he was on a visit to London looking for new talent. Garson's very first film under that arrangement was the immensely popular Goodbye, Mr. Chips (1939), earning her an Academy Award nomination for Best Actress - the first of six she would receive. The following year would see Greer in the highly acclaimed Pride and Prejudice (1940) as "Elizabeth Bennet". 1941 saw her earn a second nomination for her role as Edna Gladney in Blossoms in the Dust (1941), but it was the moving, if propagandist, Mrs. Miniver (1942), in a role that she would forever be known by, that actually brought her the Oscar statuette as Best Actress.
As Marie Curie in Madame Curie (1943), she would draw yet another nomination, and the same the next year in Mrs. Parkington (1944). It began to seem that any movie she was part of would be an automatic success. Sure enough, in 1945, she won yet another nomination, for her role as "Mary Rafferty" in The Valley of Decision (1945). Still, Garson began to chafe at the unbroken stream of "noble woman" roles in which the studio was casting her. MGM felt that they had an winning formula and saw no compelling reason to alter it. Two standard seven-year contract extensions kept her at MGM until 1954 when, by mutual consent, she left the only studio she had ever known. In 1946, Greer appeared in Adventure (1945), which was a flop at the box-office. 1947's Desire Me (1947) was no less a disaster, downward spiral finally arrested with the hit That Forsyte Woman (1949). The next year, she reprised her role as "Kay Miniver" in The Miniver Story (1950), though audiences were unsurprisingly put off by her character's untimely demise from cancer, leaving screen husband Walter Pidgeon to soldier on alone.
For the remainder of the 1950s, she endured several predictably unappreciated films. Then, 1960 found her cast in the role of Eleanor Roosevelt in Sunrise at Campobello (1960). This film was, perhaps, her finest work and landed her seventh and final Academy Award nomination. Her final screen appearances were in The Singing Nun (1966) as "Mother Prioress" and The Happiest Millionaire (1967). After a few TV movies, Garson retired to the New Mexico ranch she shared with her husband, millionaire Buddy E.E. Fogelson. She concentrated on the environment and other various charities. By the 1980s, she was suffering from chronic heart problems, prompting her to slow down. That was the cause of her death on April 6, 1996 in Dallas, Texas, at age 91.Actress - 1996- Actor
- Soundtrack
Sunny, lovable tenor Stubby Kaye with his butterball frame kept his real name a secret for his entire career. He was born Bernard Kotzin in New York and started off in the world of entertainment in 1939 after winning a radio contest. Touring as a comedian in vaudeville for over a decade, he also appeared regularly with the USO during the war years. He finally hit it big on Broadway in 1950 when he created the role of Nicely-Nicely Johnson in the smash musical hit "Guys and Dolls" singing his rousing show-stoppers "Sit Down, You're Rockin' the Boat" and "Fugue for Tinhorns". He solidified his status a few years later as Marryin' Sam in "Li'l Abner" in 1956. He preserved both of these signature roles on film.
Other stage musicals sparked by his presence included "Fiddler on the Roof", "Good News" and "Grind". In the 60s Stubby had his own kiddie show and appeared to comical effect in other films as well, including The Cool Mikado (1963), Sex and the Single Girl (1964), Cat Ballou (1965), The Way West (1967) and Sweet Charity (1969). Nightclubs and TV were also an integral part of his career. He lived for a time in England, marrying Angela Bracewell, then a hostess on Val Parnell's Sunday Night at the London Palladium (1955), and established a growing list of fans there as well. His last featured role was in Who Framed Roger Rabbit (1988). His final years were spent in ill health, dying in 1997 of lung cancer.Actor - 1997- Music Artist
- Actor
- Producer
After high school Gene Autry worked as a laborer for the St. Louis and San Francisco Railroad in Oklahoma. Next he was a telegrapher. In 1928 he began singing on a local radio station, and three years later he had his own show and was making his first recordings. Three years after that he made his film debut in Ken Maynard's In Old Santa Fe (1934) and starred in a 13-part serial the following year for Mascot Pictures, The Phantom Empire (1935). The next year he signed a contract with Republic Pictures and began making westerns. Autry--for better or worse--pretty much ushered in the era of the "singing cowboy" westerns of the 1930s and 1940s (in spite of the presence in his oaters of automobiles, radios and airplanes). These films often grossed ten times their average $50,000 production costs. During World War II he enlisted in the US Army and was assigned as a flight officer from 1942-46 with the Air Transport Command. After his military service he returned to making movies, this time with Columbia Pictures, and finally with his own company, Flying A Productions, which, during the 1950s, produced his TV series The Gene Autry Show (1950), The Adventures of Champion (1955), and Annie Oakley (1954). He wrote over 200 songs. A savvy businessman, he retired from acting in the early 1960s and became a multi-millionaire from his investments in hotels, real estate, radio stations and the California Angels professional baseball team.Actor - 1998- Director
- Writer
- Producer
Stanley Kubrick was born in Manhattan, New York City, to Sadie Gertrude (Perveler) and Jacob Leonard Kubrick, a physician. His family were Jewish immigrants (from Austria, Romania, and Russia). Stanley was considered intelligent, despite poor grades at school. Hoping that a change of scenery would produce better academic performance, Kubrick's father sent him in 1940 to Pasadena, California, to stay with his uncle, Martin Perveler. Returning to the Bronx in 1941 for his last year of grammar school, there seemed to be little change in his attitude or his results. Hoping to find something to interest his son, Jack introduced Stanley to chess, with the desired result. Kubrick took to the game passionately, and quickly became a skilled player. Chess would become an important device for Kubrick in later years, often as a tool for dealing with recalcitrant actors, but also as an artistic motif in his films.
Jack Kubrick's decision to give his son a camera for his thirteenth birthday would be an even wiser move: Kubrick became an avid photographer, and would often make trips around New York taking photographs which he would develop in a friend's darkroom. After selling an unsolicited photograph to Look Magazine, Kubrick began to associate with their staff photographers, and at the age of seventeen was offered a job as an apprentice photographer.
In the next few years, Kubrick had regular assignments for "Look", and would become a voracious movie-goer. Together with friend Alexander Singer, Kubrick planned a move into film, and in 1950 sank his savings into making the documentary Day of the Fight (1951). This was followed by several short commissioned documentaries (Flying Padre (1951), and (The Seafarers (1953), but by attracting investors and hustling chess games in Central Park, Kubrick was able to make Fear and Desire (1952) in California.
Filming this movie was not a happy experience; Kubrick's marriage to high school sweetheart Toba Metz did not survive the shooting. Despite mixed reviews for the film itself, Kubrick received good notices for his obvious directorial talents. Kubrick's next two films Killer's Kiss (1955) and The Killing (1956) brought him to the attention of Hollywood, and in 1957 he directed Kirk Douglas in Paths of Glory (1957). Douglas later called upon Kubrick to take over the production of Spartacus (1960), by some accounts hoping that Kubrick would be daunted by the scale of the project and would thus be accommodating. This was not the case, however: Kubrick took charge of the project, imposing his ideas and standards on the film. Many crew members were upset by his style: cinematographer Russell Metty complained to producers that Kubrick was taking over his job. Kubrick's response was to tell him to sit there and do nothing. Metty complied, and ironically was awarded the Academy Award for his cinematography.
Kubrick's next project was to direct Marlon Brando in One-Eyed Jacks (1961), but negotiations broke down and Brando himself ended up directing the film himself. Disenchanted with Hollywood and after another failed marriage, Kubrick moved permanently to England, from where he would make all of his subsequent films. Despite having obtained a pilot's license, Kubrick was rumored to be afraid of flying.
Kubrick's first UK film was Lolita (1962), which was carefully constructed and guided so as to not offend the censorship boards which at the time had the power to severely damage the commercial success of a film. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) was a big risk for Kubrick; before this, "nuclear" was not considered a subject for comedy. Originally written as a drama, Kubrick decided that too many of the ideas he had written were just too funny to be taken seriously. The film's critical and commercial success allowed Kubrick the financial and artistic freedom to work on any project he desired. Around this time, Kubrick's focus diversified and he would always have several projects in various stages of development: "Blue Moon" (a story about Hollywood's first pornographic feature film), "Napoleon" (an epic historical biography, abandoned after studio losses on similar projects), "Wartime Lies" (based on the novel by Louis Begley), and "Rhapsody" (a psycho-sexual thriller).
The next film he completed was a collaboration with sci-fi author Arthur C. Clarke. 2001: A Space Odyssey (1968) is hailed by many as the best ever made; an instant cult favorite, it has set the standard and tone for many science fiction films that followed. Kubrick followed this with A Clockwork Orange (1971), which rivaled Lolita (1962) for the controversy it generated - this time not only for its portrayal of sex, but also of violence. Barry Lyndon (1975) would prove a turning point in both his professional and private lives. His unrelenting demands of commitment and perfection of cast and crew had by now become legendary. Actors would be required to perform dozens of takes with no breaks. Filming a story in Ireland involving military, Kubrick received reports that the IRA had declared him a possible target. Production was promptly moved out of the country, and Kubrick's desire for privacy and security resulted in him being considered a recluse ever since.
Having turned down directing a sequel to The Exorcist (1973), Kubrick made his own horror film: The Shining (1980). Again, rumors circulated of demands made upon actors and crew. Stephen King (whose novel the film was based upon) reportedly didn't like Kubrick's adaptation (indeed, he would later write his own screenplay which was filmed as The Shining (1997).)
Kubrick's subsequent work has been well spaced: it was seven years before Full Metal Jacket (1987) was released. By this time, Kubrick was married with children and had extensively remodeled his house. Seen by one critic as the dark side to the humanist story of Platoon (1986), Full Metal Jacket (1987) continued Kubrick's legacy of solid critical acclaim, and profit at the box office.
In the 1990s, Kubrick began an on-again/off-again collaboration with Brian Aldiss on a new science fiction film called "Artificial Intelligence (AI)", but progress was very slow, and was backgrounded until special effects technology was up to the standard the Kubrick wanted.
Kubrick returned to his in-development projects, but encountered a number of problems: "Napoleon" was completely dead, and "Wartime Lies" (now called "The Aryan Papers") was abandoned when Steven Spielberg announced he would direct Schindler's List (1993), which covered much of the same material.
While pre-production work on "AI" crawled along, Kubrick combined "Rhapsody" and "Blue Movie" and officially announced his next project as Eyes Wide Shut (1999), starring the then-married Tom Cruise and Nicole Kidman. After two years of production under unprecedented security and privacy, the film was released to a typically polarized critical and public reception; Kubrick claimed it was his best film to date.
Special effects technology had matured rapidly in the meantime, and Kubrick immediately began active work on A.I. Artificial Intelligence (2001), but tragically suffered a fatal heart attack in his sleep on March 7th, 1999.
After Kubrick's death, Spielberg revealed that the two of them were friends that frequently communicated discreetly about the art of filmmaking; both had a large degree of mutual respect for each other's work. "AI" was frequently discussed; Kubrick even suggested that Spielberg should direct it as it was more his type of project. Based on this relationship, Spielberg took over as the film's director and completed the last Kubrick project.
How much of Kubrick's vision remains in the finished project -- and what he would think of the film as eventually released -- will be the final great unanswerable mysteries in the life of this talented and private filmmaker.Director - 1999- Actor
- Producer
- Production Manager
Although he appeared in approximately 100 movies or TV shows, Douglas Fairbanks, Jr. never really intended to take up acting as a career. However, the environment he was born into and the circumstances naturally led him to be a thespian. Noblesse oblige.
He was born Douglas Elton Fairbanks, Jr. in New York City, New York, to Anna Beth (Sully), daughter of a very wealthy cotton mogul, and actor Douglas Fairbanks (born Douglas Elton Thomas Ullman), then not yet established as the swashbuckling idol he would become. Fairbanks, Jr. had German Jewish (from his paternal grandfather), English, and Scottish ancestry.
He proved a gifted boy early in life. To the end of his life he remained a multi-talented, hyperactive man, not content to appear in the 100 films mentioned above. Handsome, distinguished and extremely bright, he excelled at sports (much like his father), notably during his stay at the Military Academy in 1919 (his role in Claude Autant-Lara's "L'athlète incomplete" illustrated these abilities). He also excelled academically, and attended the Lycéee Janson de Sailly in Paris, where he had followed his divorced mother. Very early in his life he developed a taste for the arts as well and became a painter and sculptor. Not content to limiting himself to just one field, he became involved in business, in fields as varied as mining, hotel management, owning a chain of bowling alleys and a firm that manufactured popcorn. During World War II he headed London's Douglas Voluntary Hospital (an establishment taking care of war refugees), was President Franklin D. Roosevelt's special envoy for the Special Mission to South America in 1940 before becoming a lieutenant in the Navy (he was promoted to the rank of captain in 1954) and taking part in the Allies' landing in Sicily and Elba in 1943. A fervent Anglophile, was knighted in 1949 and often entertained Queen Elizabeth II and Prince Philip in his London mansion, "The Boltons".
His film career began at the age of 13 when he was signed by Paramount Pictures. He debuted in Stephen Steps Out (1923) but the film flopped and his career stagnated despite a critically acclaimed role in Stella Dallas (1925). Things really picked up when he married Lucille Le Sueur, a young starlet who was soon to become better known as Joan Crawford. The young couple became the toast of the town (one "Screen Snapshots" episode echoes this sudden glory) and good parts and success followed, such as the hapless partner of Edward G. Robinson in Little Caesar (1931) a favorably reviewed turn as the villain in The Prisoner of Zenda (1937) or more debonair characters in slapstick comedies or adventure yarns. The 1930s were a fruitful period for Fairbanks, his most memorable role probably being that of the British soldier in Gunga Din (1939); although it was somewhat of a "swashbuckling" role, Fairbanks made a point of never imitating his father. After the World War II, his star waned and, despite a moving part in Ghost Story (1981), he did not appear in a major movie. Now a legend himself, Douglas Fairbanks Jr. left this world with the satisfaction of having lived up to the Fairbanks name at the end of a life nobody could call "wasted".Actor - 2000- Actress
- Soundtrack
A genuine model of sincerity, practicality and dignity in most of the roles she inhabited, actress Dorothy McGuire offered Tinseltown more talent than it probably knew what to do with. A quiet, passive beauty, she had a soothing quality to her open-faced looks and voice. She was a natural when he came to tearjerkers and she certainly had a knack for opening up her film-goer's tear ducts with her arresting performances in sentimental drama. She preferred to rest on her acting laurels than engage in publicity-monging to win roles. As a result, Dorothy was surprisingly ill-served in the awards department during her over five-decade film career, yet left a major imprint on celluloid. Touching, complex, immaculate in poise and style, she is now and forever etched in Hollywood's "Golden Age" annals and in the minds of film lovers everywhere.
Dorothy began inconspicuously enough in Omaha, Nebraska on Wednesday, June 14th, 1916. Her parents encouraged her early interest in acting and she made her debut as a teenager in "A Kiss for Cinderella" at the Omaha Community Playhouse which starred visiting alumni member Henry Fonda. She received her education at Omaha Junior College, Ladywood Convent in Indianapolis, and Pine Manor Junior College in Wellesley, Massachusetts before setting her sites on an acting career. Following summer stock she appeared in such 1938 stage productions as "Bachelor Born" and "Stopover" before understudying the role of Emily Gibb in Thornton Wilder's "Our Town" on Broadway, which at the time showcased young Martha Scott. Dorothy eventually replaced Scott in the role.
Other experiences came her way on stage with "My Dear Children" starring John Barrymore, "Swingin' the Dream", "Medicine Show", "The Time of Your Life" and "Kind Lady" before she was handed the titular role of "Claudia" in 1941. This gentle comedy became a certifiable Broadway hit and Dorothy simply incandescent as the child-like bride forced to wake up to reality after her sudden marriage. David O. Selznick subsequently signed her to a film contract. Fortunately, 20th Century-Fox, untrue to form, took a chance on the film unknown and allowed her to recreate her stage triumph opposite Robert Young. Claudia (1943) was so beautifully done and warmly received that McGuire and Young went on to recreate their roles three years later with Claudia and David (1946).
Unbelievably, Dorothy topped herself in only her second film role. After a pregnant Gene Tierney became unavailable for the role of Katie Nolan in A Tree Grows in Brooklyn (1945), the part fell to Dorothy. It's now hard to believe anyone else in the role. As the impoverished wife of a charming Irish ne'er-do-well and inebriate, Dorothy showed amazing complexity as the detached wife and mother whose painful but necessary decision-making alienates many around her, especially her daughter who is the apple of her daddy's eye. Directed by Elia Kazan, Dorothy was shamefully overlooked at awards time. Young Peggy Ann Garner was given a "special juvenile Oscar" and errant husband James Dunn picked up the Supporting Actor trophy for his work. Dorothy was not of the mind of tooting her own horn and it may have cost her an Oscar nomination -- better yet, the Oscar -- for she was hands down the better performer than eventual winner Joan Crawford, a popular choice for Mildred Pierce (1945).
Dorothy made it four film hits in a row with the success of both the sentimental fantasy The Enchanted Cottage (1945), in which she reunited with Robert Young to play two of society's castoffs who fall in love, and the expert Hitchcockian thriller The Spiral Staircase (1946) as the mute servant who is terrorized by a serial killer. Preferring rich characterizations over glamour, audiences saw Dorothy dolled up a bit more than usual in Till the End of Time (1946) as a war widow who falls for a younger hunk (Guy Madison). Her 40s filming was capped by a Best Actress nomination in Gentleman's Agreement (1947), an-anti-Semitic tale that boasted a topnotch ensemble cast including Gregory Peck, John Garfield and Celeste Holm, who won a supporting Oscar for this.
With nary a weak film yet on her resume, an unpretentious Dorothy still hadn't achieved top cinematic stardom. Preferring to return to her theater roots, she abandoned films for a couple of years and performed in such vehicles as "Tonight at 8:30" (1947) and "Summer and Smoke" (1950). When she did return it was to a different Hollywood and things would not be the same. Instead forgettable fluff such as Mother Didn't Tell Me (1950) and Callaway Went Thataway (1951) were the slim pickings offered. Although she found a popular hit with Three Coins in the Fountain (1954), the film was more notable for its title song and sumptuous settings than for the quality of acting of the three distaff stars -- McGuire, Maggie McNamara and Jean Peters.
Dorothy graciously moved into pillar-of-strength mother roles as she approached her 40s, making fine impressions as a Quaker matriarch in Friendly Persuasion (1956) and as the resourceful mom in three of Disney's endearing classics, Old Yeller (1957), Swiss Family Robinson (1960) and Summer Magic (1963). Her more flawed marital and parenting skills were displayed in the Inge film adaptation of The Dark at the Top of the Stairs (1960), and the huge, sudsy teen hit A Summer Place (1959) with Sandra Dee and Troy Donahue as young, star-crossed lovers. McGuire acted as Donahue's mother who rekindles an old love affair with Dee's father (Richard Egan). The 49-year-old McGuire then played the mother of all mothers, the Virgin Mary, in the misguided biblical epic The Greatest Story Ever Told (1965), marred by its overlong narrative and bizarre miscasting, including John Wayne as a Roman centurion. Her last film, the British-made Flight of the Doves (1971) as an Irish granny, had little impact.
In later years Dorothy found rich, rewarding work on TV and received an Emmy nomination for the well-received mini-series Rich Man, Poor Man (1976). She also played Marmee in a TV revisitation of Part I (1978), and ended her career in good company with (what else?) a sentimental tearjerker in the mini-movie The Last Best Year (1990) co-starring Bernadette Peters and Mary Tyler Moore.
Dorothy's longtime husband was photographer John Swope who died in 1979. Her children by him are Mark Swope, an artist and photographer, and former actress Topo Swope. Dorothy's health declined severely after she fell and broke her leg in 2001. She died of heart failure not long after in a Santa Monica hospital on Friday, September 14th at the age of 85.Actress - 2001- Director
- Producer
- Writer
The son of Louis K. Sidney the vice president of M.G.M. and Hazel Mooney of The Mooney Sisters. In his teens he worked as studio messenger going through every department learning the techniques and secrets of the trade. In 1933 he was assigned to direct screen tests of Judy Garland, Robert Taylor and Janet Leigh then he was promoted to shorts and the 'Our Gang' comedies winning two Oscars.He was promoted to features in 1942 directing such as 'Annie Get Your Gun', 'Showboat' and 'Pal Joey'.Director - 2002- Actress
- Additional Crew
- Soundtrack
Born Mildred Linton in Ottumwa, Iowa on December 12, 1909, Karen Morley was adopted by a well-to-do family who moved to Los Angeles in the mid-1920s. She enrolled at Hollywood High School and studied for a career in medicine at UCLA, but a class in theater changed her career ambitions.
After studying at Pasadena Playhouse, she was signed by Fox Studios and her big chance came when producer Howard Hughes selected her to play the blond moll in the 1932 crime epic, Scarface (1932), Morley was put on a contract by MGM and starred in such early 1930s movies as Mata Hari (1931) (with Greta Garbo), Arsène Lupin (1932) (with John Barrymore), Dinner at Eight (1933) (with Jean Harlow), as well as films with Lionel Barrymore, Wallace Beery and Boris Karloff. In 1934, Morley left MGM after arguments about her roles and her private life, including her intention to start a family and her marriage to director Charles Vidor. She continued working as a freelance performer, appearing in King Vidor's Our Daily Bread (1934), Michael Curtiz' Black Fury (1935) and Pride and Prejudice (1940).
In 1947, her screen career came to a halt when she testified before the House Committee on Un-American Activities and refused to answer questions about her possible enrollment in the Communist Party. Afterward, she continued promoting left-wing causes and married actor Lloyd Gough. In 1954, she ran unsuccessfully as a New York lieutenant governor candidate for the American Labor Party. Morley died March 8, 2003 at the Motion Picture Country House in Woodland Hills.Actress - 2003- Actress
- Soundtrack
The youngest of five children born to a real estate broker, glamorous actress/singer Irene Manning began this world in Cincinatti, Ohio, as Inez Harvuot in 1912. Classically trained at the Eastman School of Music in Rochester, New York, she showed great potential for the grand opera scene but an even stronger flair for acting that led her to combine both of her talents and attempt musical theater and film.
Appearing on stage billed as Hope Manning in such late 30s productions as "The Great Waltz," "H.M.S. Pinafore," and "The Gypsy Baron," sagebrush icon Gene Autry offered her a kiss in her very first screen role a year later in The Old Corral (1936) over at Republic Studios. Warner Bros. saw potential in the petite blonde beauty and decided to pick up her option. Amid such standard WWII fare as Spy Ship (1942), she more than made the grade as the colorful soprano opposite Dennis Morgan in Sigmund Romberg's The Desert Song (1943) (which she had done on stage a few years earlier), and is probably best remembered today in the secondary role of diva Fay Templeton in Yankee Doodle Dandy (1942) opposite the Oscar-winning James Cagney. The early 1940s were fruitful years for Irene appearing romantically opposite Humphrey Bogart in the drama The Big Shot (1942) and Dennis Morgan (again) in Shine on Harvest Moon (1944), in addition to offering added glamour in The Doughgirls (1944) with Ann Sheridan and Alexis Smith and Escape in the Desert (1945) featuring Philip Dorn.
The musical stage took priority in the second half of the decade. Making her Broadway debut with the short-lived musical "Susannah, Don't You Cry" in 1939, she also appeared in the operetta "The Chocolate Soldier" and again on Broadway in Lerner and Loewe's "The Day Before Spring." Irene graced the stage in "DuBarry" and "Serenade" while in London and settled in England for a long spell. She also filmed two movies while there, A Yank in London (1945) [A Yank in London] and Bonnie Prince Charlie (1948), retiring completely from the screen by decade's end. She appeared on her own BBC TV show "An American in England," before returning to the States in 1951 for TV and nightclub work. She subsequently retired altogether and concentrated on teaching acting and voice. She was also an excellent abstract painter.
It was her longtime agent who persuaded Irene to come out of retirement and reappear on the musical stage. Such showcases included "Pal Joey," "Mame," and "The King and I," to mention a few. Ms. Manning died in 2004 of congestive heart failure and was survived by her five stepchildren from her fourth (and final) marriage to space engineer and Lockheed executive Maxwell Hunter II, who died in 2001.Actress - 2004- Actress
- Soundtrack
Sandra Dee was born Alexandria Zuck on April 23, 1942 in Bayonne, New Jersey, to Mary (Cymboliak) and John Zuck. She was of Carpatho-Rusyn descent. Her mother envisioned a show business career for her daughter and would often lie about her age in order to get Sandy where she wanted to go. For example, her mother enrolled her in school early so she could have a head start. Sandy was only four years old when she entered the second grade. Sandra was an extremely pretty young lady, which enabled her to get into modeling. In fact, she was already very successful at her craft by the time she was 12 years old. This in turn led to television commercials for local companies, an added benefit for the young model.
Through her mother's prodding and the talent scouts, Sandra was signed to do a movie when she was 14 called Until They Sail (1957), released in 1957. While the film didn't exactly top the charts, it would lay the foundation for Sandra's career. The new young actress was then signed to two more films for 1958, The Reluctant Debutante (1958) and The Restless Years (1958), both with a young actor, John Saxon. In 1959, Sandra appeared in five productions with Gidget (1959) and A Summer Place (1959) being the two most popular. Sandra was 17 years old and becoming the heartthrob of teenage boys all across America. In 1960, Sandra appeared in only one film, Portrait in Black (1960), but is remembered by her for something else. She married teen idol Bobby Darin in December of that year. It may have sunk a few teen boys' hearts, but most still were enamored of her. Her work, once again, took off. The 1961 releases were Come September (1961), Romanoff and Juliet (1961), and as Tammy Tyree in Tammy Tell Me True (1961).
Sandra had replaced the ever-popular Debbie Reynolds in the "Tammy" series, but the film and its 1963 sequel, Tammy and the Doctor (1963), didn't do all that well at the box-office. The films were now slowing for Sandra. The last few that she made were I'd Rather Be Rich (1964), That Funny Feeling (1965), A Man Could Get Killed (1966), Doctor, You've Got to Be Kidding! (1967), and Rosie! (1967). By 1967, her marriage to Darin ended and so did her film career. There was little call for a teenage movie star to play daughters and such, when everyone knew that she was a divorcée. Plus, the face of movies had changed and sugary stories were not the ones that people wanted to see. Sandra did nail down the part of "Nancy Wagner" in 1970's The Dunwich Horror (1970).
In the 1970s, Dee made a few appearances in made-for-television movies, but it was the film Grease (1978) that made her famous to a new generation. While she was not in the film, one of the popular songs was "Look At Me, I'm Sandra Dee".
Sandra's last silver screen role was in Lost (1983). She died of kidney complications on February 20, 2005.Actress - 2005- Actress
- Soundtrack
One of the early sound era's most attractive young leading ladies, doll-faced Marian Marsh enjoyed a short yet significant film career as the star of several memorable 1930s melodramas opposite some of the cinema's best, most charismatic lead actors. Her youthful, wide-eyed innocence combined with an innate delicacy to make a storybook heroine who was the perfect counterbalance to the licentious characters who often menaced her on film. So successful was she as a damsel in distress that she quickly became typecast, which impeded her development as an actress and helped bring her film career to a premature end.
The youngest of four children of a German chocolate manufacturer and his French-English wife, the future star was born Violet Ethelred Krauth on October 17, 1913, on the island of Trinidad, British West Indies. When World War I ruined his business, Mr. Krauth moved the family to Massachusetts, where his children developed an appreciation for the arts and theater.
During the mid 1920s, Violet's older sister Jean Fenwick became a student at Paramount's Astoria studio and later a Paramount contract player. When Jean signed a contract with FBO Pictures in Hollywood, the Krauth family moved to the West Coast, where Violet attended La Conte Junior High School and later Hollywood High. In 1928 Jean helped her strikingly attractive golden-haired sister secure a screen test with Pathe Studios, which promptly signed her but dropped her after a short film appearance. After another short pact with Samuel Goldwyn, Violet, now known as Marilyn Morgan, opted to study acting and voice with Nance O'Neil. In 1929 Warners signed the 16-year-old, who changed her name once again, this time to Marian Marsh.
Despite appearances in 30 short films starring James Gleason and a small part in Hell's Angels (1930), Marian's career seemed headed to oblivion when she won the role of her life in Svengali (1931), Warner's film remake of George L. Du Maurier's 1894 novel "Trilby"; the tragic tale of an artists' model who becomes a great singing diva under the hypnotic tutelage of the malevolent Svengali (charismatically portrayed by John Barrymore). According to Miss Marsh, she was tested for the plum role several times before being selected by Barrymore, apparently because she resembled his wife, Dolores Costello.
The immense critical and financial success of the film combined with young Miss Marsh's rave reviews to raise her Hollywood stock. Selected as one of the WAMPAS Baby Stars of 1931, she became one of filmdom's top up-and-coming actresses. Hoping to exploit her growing popularity and capitalize on her ability to project warmth, sincerity and inner strength on screen, Warners cast her as virginal heroines in a series of films. Of special note were her compelling performances as the daughter of a woman driven to suicide by amoral newspaper editor Edward G. Robinson in Five Star Final (1931), a ballerina menaced by evil clubfooted puppeteer John Barrymore in The Mad Genius (1931), a sexy teen smitten with mature William Powell in The Road to Singapore (1931), and the fast talking Cinderella secretary of skirt-chasing financier Warren William in Beauty and the Boss (1932).
Just when it appeared as if Marian was on the verge of superstardom, she seemed to fall out of favor at Warners. After the critical failure of the much ballyhooed drama Under Eighteen (1931), a disappointed, exhausted Marian rebelled against the studio, which retaliated by not picking up her option. Her career never fully recovered.
After she departed Warners, the 19-year-old freelance actress compounded her problems and further diminished her reputation by accepting film work overseas and at minor studios. Although her performances in such films as The Sport Parade (1932), the British comedy Over the Garden Wall (1934) and A Girl of the Limberlost (1934) were admirable, low-budget production values and other assorted problems doomed the projects.
In 1935 Marian signed a two-year pact with Columbia Pictures and tried with some success to resurrect her foundering career. Of the eight Columbia pictures she made during the period 1935-36, four were memorable. She was excellent, if typecast, as a young girl mixed up with crooks and gangsters in the entertaining melodrama Counterfeit (1936), as the bespectacled daughter of a retailer in love with a shyster salesman in the charming B comedy Come Closer, Folks (1936), as an accursed young woman forced to marry murderer Boris Karloff in the fondly remembered suspense classic The Black Room (1935), and notably as the beautiful prostitute Sonya in Josef von Sternberg's controversial film version of Fyodor Dostoevsky's timeless novel Crime and Punishment (1935) starring Peter Lorre. Her performance in the latter is without a doubt one of the best, if not the best, of her career.
When her Columbia contract expired in 1936, Marian once again squandered her momentum and talent by appearing in routine second features. From 1937 to 1938, she made seven mostly forgettable films, the best of which was Republic's B drama Youth on Parole (1937), in which Marian was poignant as a girl suffering the rejection and prejudice associated with being a parolee.
In March 1938 Miss Marsh, long one of Hollywood's most eligible bachelorettes, wed stockbroker Albert Scott, the former husband of actress Colleen Moore. After the marriage she made only five more feature films. "I loved acting," she told author Richard Lamparski, "but I had become a professional because we needed the money. In 1938 I married a businessman and just drifted away from acting." PRC's money-starved comedy House of Errors (1942) is her last film to date.
In the late 1950s Marian, was briefly lured back to acting, appearing in an episode of the popular John Forsythe sitcom "Bachelor Father" and an episode of Schlitz Playhouse (1951) before retiring in 1959. One year later she married aviation pioneer and wealthy entrepreneur Clifford Henderson and moved to Palm Desert, California, a town Henderson founded in the 1940s.
In the 1960s Marian founded Desert Beautiful, a non-profit, all-volunteer conservation organization to promote environmental and beautification programs. "We planted palm trees along the West Coast and were the first to plant palms in the lower valley [Coachella] to Palm Springs. If you want to leave something behind, plant a tree!" she told author Dan Van Neste in a 1998 interview.
After Cliff Henderson died in 1984, Marian continued to live in the Henderson ranch house continuing her charitable work. Miss Marsh remained in Palm Desert through 2005 and died in 2006. Near her end, Miss March was less active but still committed to her beloved Desert Beautiful. She retains fond memories of her filmmaking years and expresses appreciation for the continuing interest in her career. When asked how she'd like to be remembered in 1998, the modest, ever-gracious star simply replied, "For doing my best. I think anything I've ever tried, I tried to do my best. In the end, that's all you can do!"Actress - 2006- Actress
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Solveig Dommartin was born on 16 May 1961 in Constantine, Constantine, France [now Algeria]. She was an actress and director, known for Wings of Desire (1987), Until the End of the World (1991) and It Would Only Take a Bridge (1998). She died on 11 January 2007 in Paris, France.Actress - 2007- Actor
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Richard Widmark established himself as an icon of American cinema with his debut in the 1947 film noir Kiss of Death (1947), in which he won a Best Supporting Actor Academy Award nomination as the killer Tommy Udo. Kiss of Death (1947) and other noir thrillers established Widmark as part of a new generation of American movie actors who became stars in the post-World War II era. With fellow post-War stars Kirk Douglas and Robert Mitchum, Widmark brought a new kind of character to the screen in his character leads and supporting parts: a hard-boiled type who does not actively court the sympathy of the audience. Widmark was not afraid to play deeply troubled, deeply conflicted, or just downright deeply corrupt characters.
After his debut, Widmark would work steadily until he retired at the age of 76 in 1990, primarily as a character lead. His stardom would peak around the time he played the U.S. prosecutor in Judgment at Nuremberg (1961) as the 1950s segued into the 1960s, but he would continue to act for another 30 years.
Richard Weedt Widmark was born in Sunrise Township, Minnesota, to Ethel Mae (Barr) and Carl Henry Widmark. His father was of Swedish descent and his mother of English and Scottish ancestry. He has said that he loved the movies from his boyhood, claiming, "I've been a movie bug since I was 4. My grandmother used to take me". The teenaged Widmark continued to go to the movies and was thrilled by Dracula (1931) and Frankenstein (1931). "I thought Boris Karloff was great", Widmark said. Although he loved the movies and excelled at public speaking while attending high school, Widmark attended Lake Forest College with the idea of becoming a lawyer. However, he won the lead role in a college production of, fittingly enough, the play "Counsellor-at-Law", and the acting bug bit deep. After taking his bachelor of arts degree in 1936, he stayed on at Lake Forest as the Assistant Director of Speech and Drama. However, he soon quit the job and moved to New York to become an actor, and by 1938 he was appearing on radio in "Aunt Jenny's Real Life Stories". He made his Broadway debut in 1943 in the play "Kiss and Tell" and continued to appear on stage in roles that were light-years away from the tough cookies he would play in his early movies.
After World War II, he was signed by 20th Century-Fox to a seven-year contract. After seeing his screen test for the role of Tommy Udo, 20th Century-Fox boss Darryl F. Zanuck insisted that the slight, blonde Widmark - no one's idea of a heavy, particularly after his stage work - be cast as the psychopath in Kiss of Death (1947), which had been prepared as a Victor Mature vehicle. Even though the role was small, Widmark stole the picture. The publicity department at 20th Century-Fox recommended that exhibitors market the film by concentrating on thumping the tub for their new antihero. "Sell Richard Widmark" advised the studio's publicity manual that an alert 20th Century-Fox sent to theater owners. The manual told local exhibitors to engage a job printer to have "wanted" posters featuring Widmark's face printed and pasted up. He won a Golden Globe and an Oscar nod for the part, which led to an early bout with typecasting at the studio. Widmark played psychotics in The Street with No Name (1948) and Road House (1948) and held his own against new Fox superstar Gregory Peck in the William A. Wellman western Yellow Sky (1948), playing the villain, of course. When his pressuring the studio to let him play other parts paid off, his appearance as a sailor in Down to the Sea in Ships (1949) made headlines: Life magazine's March 28, 1949, issue featured a three-page spread of the movie headlined "Widmark the Movie Villain Goes Straight". He was popular, having captured the public imagination, and before the decade was out, his hand- and footprints were immortalized in concrete in the court outside Grauman's Chinese Theatre in Hollywood.
The great director Elia Kazan cast Widmark in his thriller Panic in the Streets (1950), not as the heavy (that role went to Jack Palance) but as the physician who tracks down Palance, who has the plague, in tandem with detective Paul Douglas. Widmark was establishing himself as a real presence in the genre that later would be hailed as film noir. Having proved he could handle other roles, Widmark didn't shy away from playing heavies in quality pictures. The soon-to-be-blacklisted director Jules Dassin cast him in one of his greatest roles, as the penny-ante hustler Harry Fabian in Night and the City (1950). Set in London, Widmark's Fabian manages to survive in the jungle of the English demimonde, but is doomed. Widmark was masterful in conveying the desperation of the criminal seeking to control his own fate but who is damned, and this performance also became an icon of film noir. In that same year, he appeared in Oscar-winning writer-director Joseph L. Mankiewicz's No Way Out (1950) as a bigot who instigates a race riot.
As the 1950s progressed, Widmark played in westerns, military vehicles, and his old stand-by genre, the thriller. He appeared with Marilyn Monroe (this time cast as the psycho) in Don't Bother to Knock (1952) and made Pickup on South Street (1953) that same year for director Samuel Fuller. His seven-year contract at Fox was expiring, and Zanuck, who would not renew the deal, cast him in the western Broken Lance (1954) in a decidedly supporting role, billed beneath not only Spencer Tracy but even Robert Wagner and Jean Peters. The film was well respected, and it won an Oscar nomination for best screenplay for the front of Hollywood 10 blacklistee Albert Maltz. Widmark left Fox for the life of a freelance, forming his own company, Heath Productions. He appeared in more westerns, adventures and social dramas and pushed himself as an actor by taking the thankless role of the Dauphin in Otto Preminger's adaptation of George Bernard Shaw's Saint Joan (1957), a notorious flop that didn't bring anyone any honors, neither Preminger, his leading lady Jean Seberg, nor Widmark. In 1960, he was appearing in another notorious production, John Wayne's ode to suicidal patriotism, The Alamo (1960), with the personally liberal Widmark playing Jim Bowie in support of the very conservative Wayne's Davy Crockett. Along with character actor Chill Wills, Widmark arguably was the best thing in the movie.
In 1961, Widmark acquitted himself quite well as the prosecutor in producer-director Stanley Kramer's Judgment at Nuremberg (1961), appearing with the Oscar-nominated Spencer Tracy and the Oscar-winning Maximilian Schell, as well as with superstar Burt Lancaster and acting genius Montgomery Clift and the legendary Judy Garland (the latter two winning Oscar nods for their small roles). Despite being showcased with all this thespian firepower, Widmark's character proved to be the axis on which the drama turned. A little later, Widmark appeared in two westerns directed by the great John Ford, with co-star James Stewart in Two Rode Together (1961) and as the top star in Ford's apologia for Indian genocide, Cheyenne Autumn (1964). On Two Rode Together (1961), Ford feuded with Jimmy Stewart over his hat. Stewart insisted on wearing the same hat he had for a decade of highly successful westerns that had made him one of the top box office stars of the 1950s. Both he and Widmark were hard-of-hearing (as well as balding and in need of help from the makeup department's wigmakers), so Ford would sit far away from them while directing scenes and then give them directions in a barely audible voice. When neither one of the stars could hear their director, Ford theatrically announced to his crew that after over 40 years in the business, he was reduced to directing two deaf toupees. It was testimony to the stature of both Stewart and Widmark as stars that this was as far as Ford's baiting went, as the great director could be extraordinarily cruel.
Widmark continued to co-star in A-pictures through the 1960s. He capped off the decade with one of his finest performances, as the amoral police detective in Don Siegel's gritty cop melodrama Madigan (1968). With Madigan, one can see Widmark's characters as a progression in the evolution of what would become the late 1960s nihilistic antihero, such as those embodied by Clint Eastwood in Siegel's later Dirty Harry (1971). In the 1970s, he continued to make his mark in movies and, beginning in 1971, in television. In movies, he appeared primarily in supporting roles, albeit in highly billed fashion, in such films as Sidney Lumet's Murder on the Orient Express (1974), Robert Aldrich's Twilight's Last Gleaming (1977), and Stanley Kramer's The Domino Principle (1977). He even came back as a heavy, playing the villainous doctor in Coma (1978).
In 1971, in search of better roles, he turned to television, starring as the President of the U.S. in the TV miniseries Vanished (1971). His performance in the role brought Widmark an Emmy nomination. He resurrected the character of Madigan for NBC in six 90-minute episodes that appeared as part of the rotation of "NBC Wednesday Mystery Movie" for the fall 1972 season. Widmark was married for 55 years to playwright Jean Hazlewood, from 1942 until her death in 1997 (they had one child, Anne, who was born in 1945). He lived quietly and avoided the press, saying in 1971, "I think a performer should do his work and then shut up". Los Angeles Times critic Kevin Thomas thought that Widmark should have won an Oscar nomination for his turn in When the Legends Die (1972) playing a former rodeo star tutoring Frederic Forrest's character.
It is surprising to think that Kiss of Death (1947) represented his sole Oscar nomination, but with the rise of respect for film noir around the time his career began tapering off in the '70s, he began to be reevaluated as an actor. Unlike Bogart, who did not live to see his reputation flourish after his death, Widmark became a cult figure well before he retired.Actor - 2008- Actor
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Gifted with aristocratic good-looks and a rich speaking voice, English-born thespian Edmund Purdom graced dozens of European genre films in a career that spanned over 50 years.
Born in Hertfordshire and educated in Stratton-on-the-Fosse, Purdom made his professional stage debut at age 21 and worked with the Royal Shakespeare Theatre for two years. He arrived on Broadway in 1951, acting opposite Laurence Olivier and Vivien Leigh in productions of Shakespeare's "Antony and Cleopatra" and Shaw's "Caesar and Cleopatra." A supporting turn in Joseph L. Mankiewicz's Julius Caesar (1953) saw him cast in a string of lavish studio pictures as a lead, first as a last-minute replacement for Marlon Brando in The Egyptian (1954), then as the face to Mario Lanza's singing in The Student Prince (1954).
Though Purdom never achieved the superstardom of his Hollywood contemporaries, he found no shortage of work in Italy for the rest of his life. He worked in nearly every major genre trend of the country's cinema, from sword-and-sandal epics, to stylish giallo thrillers, to Spaghetti Westerns, to low-budget horror. He was also a prolific voice artist, dubbing Italian films into English. He made a brief foray behind-the-camera as one of names attached to the Brit slasher Don't Open Till Christmas (1984), but it's troubled production meant his directing career was a one-off.
Purdom was married to Vivienne Purdom, Linda Christian, Alicia Darr and Tita Phillips. He died on January 1, 2009 in Rome, survived by Vivienne and two daughters.Actor - 2009- Director
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Arthur Penn was born on 27 September 1922 in Philadelphia, Pennsylvania, USA. He was a director and producer, known for Bonnie and Clyde (1967), Little Big Man (1970) and The Miracle Worker (1962). He was married to Peggy Maurer. He died on 28 September 2010 in Manhattan, New York City, New York, USA.Director - 2010- Actor
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Farley Earle Granger was born in 1925 in San Jose, California, to Eva (Hopkins) and Farley Earle Granger, who owned an automobile dealership. Right out of high school, he was brought to the attention of movie producer Samuel Goldwyn, who cast him in a small role in The North Star (1943). He followed it up with a much bigger part in The Purple Heart (1944) and then joined the army. After his release he had to wait until Nicholas Ray cast him in the low-budget RKO classic They Live by Night (1948) with Cathy O'Donnell, and then he was recalled by Goldwyn, who signed him to a five-year contract. He then made Rope (1948) for Alfred Hitchcock and followed up for Goldwyn with Enchantment (1948) with David Niven, Evelyn Keyes and Teresa Wright. Other roles followed, including Roseanna McCoy (1949) with Joan Evans, Our Very Own (1950) with Ann Blyth and Side Street (1949), again with Cathy O'Donnell. He returned to Hitchcock for the best role of his career, as the socialite tennis champ embroiled in a murder plot by psychotic Robert Walker in Strangers on a Train (1951). He then appeared in O. Henry's Full House (1952) with Jeanne Crain, Hans Christian Andersen (1952) with Danny Kaye, The Story of Three Loves (1953) with Leslie Caron and Small Town Girl (1953) with Jane Powell. He went to Italy to make Senso (1954) for Luchino Visconti with Alida Valli, one of his best films. He did a Broadway play in 1955, "The Carefree Tree", and then returned to films in The Naked Street (1955) with Anthony Quinn and Anne Bancroft and The Girl in the Red Velvet Swing (1955) with Joan Collins and Ray Milland. Over the next ten years Granger worked extensively on television and the stage, mainly in stock, and returned to films in Rogue's Gallery (1968) with Dennis Morgan. He then returned to Italy, where he made a series of films, including The Challengers (1970) with 'Anne Baxter (I)', The Man Called Noon (1973) with Richard Crenna and Arnold (1973) with Stella Stevens. More recent films include The Prowler (1981), Death Mask (1984), The Imagemaker (1986) and The Next Big Thing (2001). Since the 1950s he has continued to work frequently on American television and, in 1980, returned to Broadway and appeared in Ira Levin's successful play "Deathtrap". In 2007 he published his autobiography, "Include Me Out: My Life from Goldwyn to Broadway" with Robert Calhoun. A longtime resident of New York, Granger has recently appeared in several documentaries discussing Hollywood and, often, specifically Alfred Hitchcock.Actor - 2011- Actor
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Andy Griffith is best known for his starring roles in two very popular television series, The Andy Griffith Show (1960) and Matlock (1986). Griffith earned a degree in music from the University of North Carolina at Chapel Hill. In the 1950s, he became a regular on The Ed Sullivan Show (1948) and The Steve Allen Plymouth Show (1956). He was featured in the Broadway play "No Time for Sergeants" (1955) for which he received a Tony nomination, and he later appeared in the film version. His film debut was in the provocative and prophetic A Face in the Crowd (1957), in which Griffith gave a performance that has been described as stunning.
On The Andy Griffith Show (1960), Griffith portrayed a folksy small-town sheriff who shared simple heartfelt wisdom. The series was one of the most popular television series in history. It generated some successful spin-offs, and the original is still seen in reruns to this day. Griffith created his own production company in 1972, which produced several movies and television series. In 1981, he was nominated for an Emmy for his portrayal in Murder in Texas (1981). In 1983, Griffith was stricken with Guillain-Barre syndrome, but he recovered after rehabilitation. In 1986, he produced and starred in the very successful television series Matlock (1986). The series spawned numerous television movies as well. When he accepted the People's Choice Award for this series, he said this was his favorite role. Andy Griffith died at age 86 of a heart attack in his home in Dare County, North Carolina on July 3, 2012.Actor - 2012- Actress
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She was born in Mound, Minnesota on 16 February 1918, the daughter of Peter Andreos (changed to 'Andrews' upon arriving in the US) and Olga Sollie. Her real name was Patricia Marie (Patty nickname). Her father was a Greek Catholic immigrant and her mother a Lutheran from Norway who ran the pure food café, a Greek café in Minneapolis which was located adjacent to the Orpheum Theater. Her sisters were Lavern Sophie born July 6, 1911, died 1967 (cancer); Maxene Angelyn born Jan. 3, 1916, died October 1995 of a heart attack while on vacation at Cape Cod, Massachusetts. Peter Andrews did not think it honorable to have his daughters in show business and decided they should go back to school and become secretaries. Maxine was only four when she first appeared on her first radio broadcast in Minneapolis. By the time she was six she was entertaining at veterans hospitals, for the Mayor of Minneapolis and at Daughters of American Revolution luncheons. Laverne started the trio of sisters and they appeared in kiddie revues on local radio stations and at the Orpheum in their hometown of Minneapolis. It was there they were discovered by Larry Rich, who offered them a job with his traveling revue. Patty was only ten at the time. They began their career in New York city with Jack Belasco's orchestra and later with Ted Mack making the Vaudeville circuit. In 1937 they were heard by recording executive, Dave Kapp and they began a long association with a string of hits. In 1953, the group broke up with Laverne going to New York to study dramatics. Laverne became a career housewife and Patti stayed in show business as a single after their hopes and ambitions clashed with one another. In 1956 they regrouped and sang in Las Vegas at the Flamingo Hotel along with a host of TV offers and a new Capitol recording contract. Their first major hit was "Bei Mir Bist Du Schon", was very well liked by Nazi Germany, until the discovery that the songwriters were a Jewish race. Other top hits included "Don't Fence Me In", "Apple Blossom Time", "Rum and Coca Cola", and "I Can Dream, Can't I?", in 1937.Actress / Singer - 2013- Actor
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One of Hollywood's finest character / "Method" actors, Eli Wallach was in demand for over 60 years (first film/TV role was 1949) on stage and screen, and has worked alongside the world's biggest stars, including Clark Gable, Clint Eastwood, Steve McQueen, Marilyn Monroe, Yul Brynner, Peter O'Toole, and Al Pacino, to name but a few.
Wallach was born on 7 December 1915 in Brooklyn, NY, to Jewish parents who emigrated from Poland, and was one of the few Jewish kids in his mostly Italian neighborhood. His parents, Bertha (Schorr) and Abraham Wallach, owned a candy store, Bertha's Candy Store. He went on to graduate with a B.A. from the University of Texas in Austin, but gained his dramatic training with the Actors Studio and the Neighborhood Playhouse. He made his debut on Broadway in 1945, and won a Tony Award in 1951 for portraying Alvaro Mangiacavallo in the Tennessee Williams play "The Rose Tattoo".
Wallach made a strong screen debut in 1956 in the film version of the Tennessee Williams play Baby Doll (1956), shined as "Dancer", the nattily dressed hitman, in director Don Siegel's film-noir classic The Lineup (1958), and co-starred in the heist film Seven Thieves (1960). Director John Sturges then cast Wallach as vicious Mexican bandit Calvera in The Magnificent Seven (1960), the western adaptation of the Akira Kurosawa epic Seven Samurai (1954). The Misfits (1961), in the star-spangled western opus How the West Was Won (1962), the underrated WW2 film The Victors (1963), as a kidnapper in The Moon-Spinners (1964), in the sea epic Lord Jim (1965) and in the romantic comedy How to Steal a Million (1966).
Looking for a third lead actor in the final episode of the "Dollars Trilogy", Italian director Sergio Leone cast the versatile Wallach as the lying, two-faced, money-hungry (but somehow lovable) bandit "Tuco" in the spectacular The Good, the Bad and the Ugly (1966) (aka "The Good, The Bad and The Ugly"), arguably his most memorable performance. Wallach kept busy throughout the remainder of the '60s and into the '70s with good roles in Mackenna's Gold (1969), Cinderella Liberty (1973), Crazy Joe (1974), The Deep (1977) and as Steve McQueen's bail buddy in The Hunter (1980).
The 1980s was an interesting period for Wallach, as he was regularly cast as an aging doctor, a Mafia figure or an over-the-hill hitman, such as in The Executioner's Song (1982), Our Family Honor (1985), Tough Guys (1986), Nuts (1987), The Two Jakes (1990) and as the candy-addicted "Don Altabello" in The Godfather Part III (1990). At 75+ years of age, Wallach's quality of work was still first class and into the 1990s and beyond, he has remained in demand. He lent fine support to Vendetta: Secrets of a Mafia Bride (1990), Teamster Boss: The Jackie Presser Story (1992), Naked City: Justice with a Bullet (1998) and Keeping the Faith (2000). Most recently Wallach showed up as a fast-talking liquor store owner in Mystic River (2003) and in the comedic drama King of the Corner (2004).
In early 2005, Eli Wallach released his much anticipated autobiography, "The Good, The Bad And Me: In My Anecdotage", an enjoyable reading from one of the screen's most inventive and enduring actors.
Eli Wallach was very much a family man who remained married to his wife Anne Jackson for 66 years. When Wallach died at 98, in 2014, in Manhattan, NY, he was survived by his wife, three children, five grandchildren and several great-grandchildren.Actor - 2014- Actress
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She was born of Irish ancestry as Joan Agnes Theresa Brodel, the daughter of an accountant and a pianist. She was educated at Catholic schools in Toronto, Montreal and Detroit. There were three sisters, her older siblings being Mary and Betty. Together, they made up a successful vaudeville act, the Brodel Sisters. Trained in singing, dancing and dramatics from early childhood, Joan began on stage at the age of nine. The Brodel's entry into in show biz at such a tender age had much to do with supporting their impoverished parents during the Depression years. With her sisters, Joan performed on radio and in nightclubs. The most talented of the trio, she excelled at impersonations, her repertoire including Katharine Hepburn, Greta Garbo, Jimmy Durante and Maurice Chevalier. While Mary played the saxophone and Betty the piano, Joan was a wiz on the accordion and the banjo. One night, during a performance at the Paradise Club in New York, she was singled out by an MGM talent scout and promptly signed for six months with a salary of $200 a week. Her first role of note was as Robert Taylor's young sister in the period drama Camille (1936). She did not last long at MGM, but, in 1940, was signed by Warner Brothers. Voice coaching smoothed her Midwestern accent and Joan Brodel became Joan Leslie, ostensibly 'to avoid confusion' with Warner's star comedienne Joan Blondell.
Little Joan was all but 14 years old when her movie career began in earnest. Her ability to cry on cue proved instrumental in her selection for the pivotal role of Velma, the club-footed girl helped by gangster Roy Earle (Humphrey Bogart) in High Sierra (1940). This role, by her own account, put her on the map. In between working as a photographers model, Joan flourished in A-grade productions, playing Gary Cooper's sweetheart in Sergeant York (1941) (despite a 24-years age difference), co-starring and dancing with James Cagney in Yankee Doodle Dandy (1942) and featuring in the top half of the bill in the aptly named, star-studded musical extravaganza Thank Your Lucky Stars (1943). She did her bit for the war effort too, dancing with servicemen in Hollywood Canteen (1944) and being featured in the movie along with her sister Betty. By 1942, Joan had acquired a wholesome reputation as the all-American girl-next-door. Life Magazine described her as "looking every inch the schoolgirl she is" and her greatest asset being "a manner of projecting sweet innocence without seeming too sugary". Before long, however, the relationship between Joan and her studio began to sour.
By 1945, the quality of her roles had begun to deteriorate. She made a couple of so-so pictures with Robert Alda, Rhapsody in Blue (1945) (an entertaining, but highly fictionalised biopic of George Gershwin) and Cinderella Jones (1946). After appearing in Two Guys from Milwaukee (1946), Joan, demanding more mature roles, took Warner Brothers to court. Having made her point, her contract was dropped. Between 1947 and 1954, Joan freelanced, often for Poverty Row outfits like Eagle-Lion, Lippert and Republic. She became yet another fatality of Hollywood typecasting, another example of an attractive ingenue, a promising starlet and a potential major star who ended up as a low budget western lead. Still, later interviews suggested that she rather enjoyed acting in her handful of second-string westerns and they earned Joan a Golden Boot Award in 2006 for contributions to the genre. She finally had another co-starring turn, billed behind Jane Russell and Richard Egan in The Revolt of Mamie Stover (1956), thereafter restricting her appearances to the small screen. Joan has a star on the Hollywood Walk of Fame on Vine Street.
In her later private life, Joan was devoted to various Catholic charities and to raising her identical twin daughters. As Joan Caldwell, an obstetrician's widow, she founded a Chair in Gynecologic Oncology at the University of Louisville. Joan died in October 2017 at the age of 90.
She quit her acting career to raise her identical twin daughters Patrice and Ellen. Both daughters are now Doctors, teaching at universities.Actress - 2015- Tall, dour-faced and slouch-shouldered character actor Abe Vigoda proved himself in both gritty dramatic roles and as an actor with wonderful comedic timing.
Vigoda was born in Brooklyn, New York, to Lena (Moses) and Samuel Vigoda, a tailor -- both Russian Jewish immigrants. His father was a tailor on the Lower East Side. He made his first stage appearance at the age of 17 and plodded away in small theater shows for over 20 years. For the majority of film-goers, Vigoda first came to prominence in The Godfather (1972) as the double-crossing Tessio, pleading to no avail with Robert Duvall to save his life "for old times' sake". Vigoda had roles in a few nondescript TV films before landing the plum role of the dour, unsmiling, urinary tract-tormented Sgt. Phil Fish on the sitcom Barney Miller (1975), his best-known role. The character of Fish proved popular enough to be spun off to his own (albeit short-lived) series, Fish (1977).
With his long, blank, rarely smiling face, he remained in high demand in mafioso-type roles, and for a while in the mid-1980s, he was mistakenly believed to have been dead, leading a producer to remark, "I need an Abe Vigoda type actor", not realizing Vigoda was still alive. The 1990s and beyond became busy again for Vigoda, making appearances in North (1994), The Misery Brothers (1995), A Brooklyn State of Mind (1998), and Crime Spree (2003). He continued acting into his 90s, surprising audiences with his entertaining style.
Vigoda died in his sleep on January 26, 2016, , a month before his 95th birthday, in suburban Woodland Park, New Jersey. He was interred in Beth David Cemetery in Elmont, New York.Actor - 2016 - For fourteen years, she said that family was the most important thing to her and she set most of her time aside to be a "present" mother to her son. Movies, plays and television were chosen, for the most part, when they occurred in town or on a school break. She took one year to homeschool her son for his seventh grade. But it wasn't always this way. She was raised in New York City and wanted to be an actress from the time she was a child, graduating with acting honors from the High School of Performing Arts. She chose to opt out of studying acting in college and attended a small college in Europe, majoring in art history and literature, knowing that acting would take up a great deal of her life and that her college years would be her only real time to learn about something else. Upon graduation, she returned to New York City but a chance trip to Chicago inspired her to move there and become a part of its budding theatre community. It was in a production of "Curse of The Starving Class", directed by Robert Falls and co-starring John Malkovich, that she was first seen by the Steppenwolf Theatre Company and, subsequently, asked to join their troupe. She did and learned what it really was to be an actress on her feet, performing in all kinds of roles in both comedy and drama. During this time, she won four Joseph Jefferson awards for best supporting actress.
With a return move to New York, she received a Theatre World Award for "best newcomer" for her role in "the Philanthropist" at the Manhattan Theatre Club and appeared in "Extremities" with Susan Sarandon. This was followed by her appearance in the very successful Steppenwolf production in New York of "Balm in Gilead". She then starred on Broadway opposite Kevin Kline and Raul Julia in "Arms & the Man", directed by John Malkovich, her husband at the time. She was cast in several smaller films including Nadine (1987), Making Mr. Right (1987) and Paperhouse (1988) as well as Lonesome Dove (1989) for television for which she received her first of two Emmy nominations for best supporting actress. But her breakout film performance was in Dirty Rotten Scoundrels (1988), in which she played the cunning "victim", who gets the best of con artists Michael Caine and Steve Martin. This led to her being cast in the blockbuster comic strip parody, Dick Tracy (1990), in which she portrayed the girlfriend, "Tess Trueheart", to Warren Beatty's lead.
She went on to appear in the films Mr. Holland's Opus (1995) opposite Richard Dreyfuss, Mortal Thoughts (1991) opposite Demi Moore, 2 Days in the Valley (1996), What's the Worst That Could Happen? (2001), Breakfast of Champions (1999), Around the Bend (2004) and Confessions of a Teenage Drama Queen (2004).
On television, she had a recurring part on ER (1994) and Monk (2002) and was in the short-lived sit-com Encore! Encore! (1998) with Nathan Lane and Joan Plowright. She was in the live theatrical presentation of "On Golden Pond" as the troubled daughter of Christopher Plummer and Julie Andrews and also appeared in the telefilms Women vs. Men (2002), My Own Country (1998) and Pronto (1997), among others. She received her second Emmy nomination for best supporting actress for Bastard Out of Carolina (1996), directed by Anjelica Huston.
Some of her later appearances were in the films The Amateurs (2005) (aka "The Amateurs"), The Namesake (2006), Comeback Season (2006), Kit Kittredge: An American Girl (2008) and The Joneses (2009).Actress - 2017 - Actress
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Best known for playing the perpetually-ditzy blonde bimbo in several installments of the "Carry On" franchise, buxom Liz Fraser (born Elizabeth Joan Winch above a corner shop in south London) studied at RADA on a scholarship and first acted in repertory theatre and television before breaking into films. Her first role of note was Cynthia, the daughter of radical left-wing shop steward Fred Kite in The Boulting Brothers comedy I'm All Right Jack (1959) (the film which made Peter Sellers a star). In a second outing with Sellers, (Two Way Stretch (1960), she played his girlfriend Ethel; up next were eight guest appearances on Hancock's Half Hour (1956). By that time, her screen personae were firmly established as scatterbrained blondes or feisty gum-chewing working-class Cockneys. Though she often managed to rise above her material, the typecasting sadly continued through a series of dreadful low-brow '70s sex comedies in the 'Adventures' and 'Confessions' series, which represented a significant step-down from the "Carry Ons" and did nothing for her reputation.
Liz attempted to change her image by playing straight dramatic roles in The Family Way (1966) and Up the Junction (1968) (as the mother) and her later career prospered as a fine character actress with guest spots on The Professionals (1977), Minder (1979), Foyle's War (2002), and Midsomer Murders (1997), along with a string of successes on the West End stage. In her private life, she was known to be fond of animals, and she loved to play bridge and ladies' bowls at the exclusive Hurlingham club in Fulham. Her financial astuteness brought substantial gains at the stock market, which she in turn developed into a healthy property portfolio. She always spoke fondly of her co-stars, many of whom she regarded as her close 'mates' during the sixties, in particular Sidney James, Joan Sims, Tony Hancock and Tommy Cooper.Actress - 2018- Actor
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Peter Henry Fonda was born in New York City, to legendary screen star Henry Fonda and Ontario, Canada-born New York socialite Frances Brokaw (born Frances Ford Seymour). He was the younger brother of actress and activist Jane Fonda and the father of actress Bridget Fonda.
Fonda made his professional stage debut on Broadway in 1961 in Blood, Sweat and Stanley Poole, for which he received rave reviews from the New York Critics, and won the Daniel Blum Theater World Award and the New York Critics Circle Award for Best New Actor. He began his feature film career in 1963, playing the romantic lead in Tammy and the Doctor and joined the ensemble cast of the World War II saga, The Victors.
Shortly thereafter, Fonda began what would become a famous association with Roger Corman, starring in Wild Angels, as the ultra-cool, iron-fisted leader of a violent biker gang, opposite Nancy Sinatra, Bruce Dern, and Diane Ladd. Fonda starred in Corman's 1967 psychedelic film The Trip, also starring Dern and Susan Strasberg. His next project was the seminal 1969 anti-establishment film Easy Rider, which he produced and co-scripted, receiving an Academy Award nomination for Best Original Screenplay.
His acting credits included the feature films Outlaw Blues, an expose of the country music business; Dirty Mary, Crazy Larry; Race with the Devil; Robert Rossen's Lilith; Split Image; Robert Wise's Two People; and the cult films Love and a .45 and Nadja. He appeared in Grace of My Heart (directed by Alison Anders), and John Carpenter's Escape from L.A., starring Kurt Russell. He made a cameo appearance in Bodies, Heat & Motion, which starred his daughter Bridget Fonda.
Fonda won critical acclaim for his portrayal of Ulee Jackson, the taciturn beekeeper in the 1997 film Ulee's Gold, earning him both a Golden Globe Award for Best Actor and the New York Film Critics Award, as well as an Oscar nomination. Following this, he published his autobiography, Don't Tell Dad, and was then seen in the NBC movie The Tempest, for which he had been nominated for another Golden Globe Award for Best Actor in a Mini-Series. Fonda then appeared with Helen Mirren in the Showtime telefilm The Passion of Ayn Rand, where he won the Golden Globe for outstanding supporting actor in a mini-series or movie made for television and was nominated for both an Emmy and SAG Award. He co-starred in Steven Soderbergh's 1997 film The Limey. Following this, he appeared in Thomas and the Magic Railroad for director Britt Allcroft, starring Alec Baldwin.
Fonda directed his first feature film, The Hired Hand, in 1971. A critically acclaimed western in which he also starred, the film debuted with a restored version at the 2001 Venice Film Festival; it then screened at the Toronto Film Festival before reopening in theaters in 2003. Other directing credits include the science fiction feature Idaho Transfer, starring as a gambler who wins Brooke Shields in a poker game.
Fonda co-starred in HBO's The Laramie Project, based on the true story of openly gay college student Matthew Shepard, killed in an act of senseless violence and cruelty, which attracted national attention. Fonda starred in The Maldonado Miracle, directed by Salma Hayek for Showtime Networks, and was nominated for a Daytime Emmy Award for his role. Fonda also starred opposite Kris Kristofferson in Wooly Boys, which was released in March 2004, and the television drama Back When We Were Grownups, opposite Blythe Danner and Faye Dunaway. Fonda was seen in Soderbergh's Ocean's Twelve and appeared in Mark Steven Johnson's Ghost Rider, opposite Nicolas Cage.
Fonda's last projects included director Ron Maxwell's Civil War-era drama Copperhead, alongside Billy Campbell and Angus MacFadyen, The Ultimate Gift directed by Michael Landon Jr., and John McNaughton's The Harvest, with Samantha Morton and Michael Shannon.
Peter Fonda died on August 16, 2019, in Los Angeles.Actor - 2019- Actor
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Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name of his best-selling 1988 autobiography) to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born on December 9, 1916 in Amsterdam, New York. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. Professional wrestling helped pay for his studies as did working on the side as a waiter and a bellboy. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He made his Broadway debut in "Spring Again" before his career was interrupted by World War II. He joining the United States Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall, movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1947), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now."
After appearing in "I Walk Alone," Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli. In 1955, Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence, Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.
Douglas remained busy throughout the 1960s, starring in many films. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally in 1963, he starred in an onstage production of Ken Kesey's "One Flew Over the Cuckoo's Nest," but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson. Into the 1970s, Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).
Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded with the Presidential Medal of Freedom (1981), and with the Jefferson Award (1983). Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remained active and continued to appear in front of the camera. Until his passing on February 5 2020 at the age of 103, he and Olivia de Havilland were the last surviving major stars from the Golden Years of Hollywood.Actor / Producer - 2020- Actress
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Patricia Alma Hitchcock was the only child of Alfred Hitchcock and his wife Alma Reville. Her upbringing was 'English' and strict. Two years of boarding school from the age of eight was followed by relocation to the U.S. a year later when Hitch was contracted by David O. Selznick to direct Rebecca (1940). Keen to join the acting fraternity, Pat appeared on stage by the early 40s. In 1944, she played the titular role in the short-lived Broadway play Violet at the Belasco Theater. Though she would have liked to go on to a college education, her father instead packed her off to London when she was 18 to study at RADA (among her classmates were Lionel Jeffries and Dorothy Tutin). She made several appearances on the London stage, followed by an inauspicious screen debut in 1949. In 1950, she had a small role in her father's thriller Stage Fright (1950) (as 'Chubby Bannister') which set the tone for her future roles, usually as the dowdy friend or sister of the heroine (Strangers on a Train (1951), Psycho (1960)). She was also featured in ten episodes of Alfred Hitchcock Presents (1955), whenever (in her own words) "they needed a maid with an English accent". In a 1984 Washington Post interview she bemoaned the fact that her father had not believed in nepotism, so that more work would have come her way. In 1951, Pat got married and -- barely a decade later -- decided to forsake show business to raise a family. Her father did not object. In 2003, Pat published a book of reminiscences and anecdotes (co-authored by film writer Laurent Bouzereau), entitled Alma Hitchcock: the Woman Behind the Man, asserting that "My mother had much more to do with the films than she has ever been given credit for - he depended on her for everything, absolutely everything".Actress - 2021- Actor
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Peter Bogdanovich was conceived in Europe but born in Kingston, New York. He is the son of immigrants fleeing the Nazis, Herma (Robinson) and Borislav Bogdanovich, a painter and pianist. His father was a Serbian Orthodox Christian, and his mother was from a wealthy Austrian Jewish family. Peter originally was an actor in the 1950s, studying his craft with legendary acting teacher Stella Adler and appearing on television and in summer stock. In the early 1960s he achieved notoriety for programming movies at the Museum of Modern Art in New York City. An obsessive cinema-goer, sometimes seeing up to 400 movies a year in his youth, Bogdanovich prominently showcased the work of American directors such as John Ford, about whom he subsequently wrote a book based on the notes he had produced for the MOMA retrospective of the director, and the then-underappreciated Howard Hawks. Bogdanovich also brought attention to such forgotten pioneers of American cinema as Allan Dwan.
Bogdanovich was influenced by the French critics of the 1950s who wrote for Cahiers du Cinema, especially critic-turned-director François Truffaut. Before becoming a director himself, he built his reputation as a film writer with articles in Esquire Magazine. In 1968, following the example of Cahiers du Cinema critics Truffaut, Jean-Luc Godard, Claude Chabrol and Éric Rohmer who had created the Nouvelle Vague ("New Wave") by making their own films, Bogdanovich became a director. Working for low-budget schlock-meister Roger Corman, Bogdanovich directed the critically praised Targets (1968) and the not-so-critically praised Voyage to the Planet of Prehistoric Women (1968), a film best forgotten.
Turning back to journalism, Bogdanovich struck up a lifelong friendship with the legendary Orson Welles while interviewing him on the set of Mike Nichols' film adaptation of Catch-22 (1970) from the novel by Joseph Heller. Subsequently, Bogdanovich has played a major role in elucidating Welles and his career with his writings on the great actor-director, most notably his book "This is Orson Welles" (1992). He has steadily produced invaluable books about the cinema, especially "Who the Devil Made It: Conversations with Legendary Film Directors," an indispensable tome that establishes Bogdanovich, along with Kevin Brownlow, as one of the premier English-language chroniclers of cinema.
The 32-year-old Bogdanovich was hailed by a critics as a Wellesian wunderkind when his most famous film, The Last Picture Show (1971) was released. The film received eight Academy Award nominations, including Bogdanovich as Best Director, and won two of them, for Cloris Leachman and "John Ford Stock Company" veteran Ben Johnson in the supporting acting categories. Bogdanovich, who had cast 19-year-old model Cybill Shepherd in a major role in the film, fell in love with the young beauty, an affair that eventually led to his divorce from the film's set designer Polly Platt, his longtime artistic collaborator and the mother of his two children.
Bogdanovich followed up The Last Picture Show (1971) with a major hit, What's Up, Doc? (1972), a screwball comedy heavily indebted to Hawks' Bringing Up Baby (1938) and His Girl Friday (1940), starring Barbra Streisand and 'Ryan O'Neal'. Despite his reliance on homage to bygone cinema, Bogdanovich had solidified his status as one of a new breed of A-list directors that included Academy Award winners Francis Ford Coppola and William Friedkin, with whom he formed The Directors Company. The Directors Company was a generous production deal with Paramount Pictures that essentially gave the directors carte blanche if they kept within strict budget limitations. It was through this entity that Bogdanovich's next big hit, the critically praised Paper Moon (1973), was produced.
Paper Moon (1973), a Depression-era comedy starring Ryan O'Neal that won his ten-year-old daughter Tatum O'Neal an Oscar as Best Supporting Actress, proved to be the highwater mark of Bogdanovich's career. Forced to share the profits with his fellow directors, Bogdanovich became dissatisfied with the arrangement. The Directors Company subsequently produced only two more films, Francis Ford Coppola's critically acclaimed The Conversation (1974) which was nominated for an Academy Award for Best Picture of 1974 and garnered Coppola an Oscar nod for Best Director, and Bogdanovich's Daisy Miller (1974), a film that had a quite different critical reception.
An adaptation of the Henry James novella, Daisy Miller (1974) spelled the beginning of the end of Bogdanovich's career as a popular, critically acclaimed director. The film, which starred Bogdanovich's lover Cybill Shepherd as the title character, was savaged by critics and was a flop at the box office. Bogdanovich's follow-up, At Long Last Love (1975), a filming of the Cole Porter musical starring Cybill Shepherd, was derided by some critics as one of the worst films ever made, noted as such in Harry Medved and Michael Medved's book "The Golden Turkey Awards: Nominees and Winners, the Worst Achievements in Hollywood History" (1980). The film also was a box office bomb despite featuring Burt Reynolds, a hotly burning star who would achieve super-nova status at the end of the 1970s.
Bogdanovich insisted on filming the musical numbers for At Long Last Love (1975) live, a process not used since the early days of the talkies, when sound engineer Douglas Shearer developed lip-synching at Metro-Goldwyn-Mayer. The decision was widely ridiculed, as none of the leading actors were known for their singing abilities (Bogdanovich himself had produced a critically panned album of Cybill Shepherd singing Cole Porter songs in 1974). The public perception of Bogdanovich became that of an arrogant director hamstrung by his own hubris.
Trying to recapture the lightning in the bottle that was his early success, Bogdanovich once again turned to the past, his own and that of cinema, with Nickelodeon (1976). The film, a comedy recounting the earliest days of the motion picture industry, reunited Ryan O'Neal and 'Tatum O'Neal' from his last hit, Paper Moon (1973) with Burt Reynolds. Counseled not to use the unpopular (with both audiences and critics) Cybill Shepherd in the film, Bogdanovich instead used newcomer Jane Hitchcock as the film's ingénue. Unfortunately, the magic of Paper Moon (1973) was not be repeated and the film died at the box office. Jane Hitchcock, Bogdanovich's discovery, would make only one more film before calling it quits.
After a three-year hiatus, Bogdanovich returned with the critically and financially underwhelming Saint Jack (1979) for Hugh Hefner's Playboy Productions Inc. Bogdanovich's long affair with Cybill Shepherd had ended in 1978, but the production deal making Hugh Hefner the film's producer was part of the settlement of a lawsuit Shepherd had filed against Hefner for publishing nude photos of her pirated from a print of The Last Picture Show (1971) in Playboy Magazine. Bogdanovich then launched the film that would be his career Waterloo, They All Laughed (1981), a low-budget ensemble comedy starring Audrey Hepburn and the 1980 Playboy Playmate of the Year, Dorothy Stratten. During the filming of the picture, Bogdanovich fell in love with Stratten, who was married to an emotionally unstable hustler, Paul Snider, who relied on her financially. Stratten moved in with Bogdanovich, and when she told Snider she was leaving him, he shot and killed her, then committed suicide.
They All Laughed (1981) could not attract a distributor due to the negative publicity surrounding the Stratten murder, despite it being one of the few films made by the legendary Audrey Hepburn after her provisional retirement in 1967 (the film would prove to be Hepburn's last starring role in a theatrically released motion picture). The heartbroken Bogdanovich bought the rights to the negative so that it would be seen by the public, but the film had a limited release, garnered weak reviews and cost Bogdanovich millions of dollars, driving the emotionally devastated director into bankruptcy.
Bogdanovich turned back to his first avocation, writing, to pen a memoir of his dead love, "The Killing of the Unicorn: Dorothy Stratten (1960-1980)" that was published in 1984. The book was a riposte to Teresa Carpenter's "Death of a Playmate" article written for The Village Voice that had won the 1981 Pulitzer Prize. Carpenter had lambasted Bogdanovich and Hugh Hefner, claiming that Stratten was as much a victim of them as she was of Paul Snider. The article served as the basis of Bob Fosse's film Star 80 (1983), in which Bogdanovich was portrayed as the fictional director "Aram Nicholas".
Bogdanovich's career as a noted director was over, and though he achieved modest success with Mask (1985), his sequel to his greatest success The Last Picture Show (1971), Texasville (1990), was a critical and box office disappointment. He directed two more theatrical films in 1992 and 1993, but their failure kept him off the big screen until 2001's The Cat's Meow (2001). Returning once again to a reworking of the past, this time the alleged murder of director Thomas H. Ince by Welles' bete noir William Randolph Hearst, The Cat's Meow (2001) was a modest critical success but a flop at the box office. In addition to helming some television movies, Bogdanovich has returned to acting, with a recurring guest role on the cable television series The Sopranos (1999) as Dr. Jennifer Melfi's analyst.
Bogdanovich's personal reputation suffered from gossip about his 13-year marriage to Dorothy Stratten's 19-year-old-kid sister Louise Stratten, who was 29 years his junior. Some gossip held that Bogdanovich's behavior was akin to that of the James Stewart character in Alfred Hitchcock's necrophiliac masterpiece Vertigo (1958), with the director trying to remold Stratten into the image of her late sister. The marriage ended in divorce in 2001.
Now in his early eighties, Bogdanovich has arguably imitated his hero Orson Welles, but in an unintended fashion, as filmmaker who never regained the acclaim bestowed on their first major success. However, unlike the widely acclaimed master Welles, the orbit of Bogdanovich's reputation has never recovered from the apogee it reached briefly in the early 1970s.
There has been speculation that Peter Bogdanovich's ruin as a director was guaranteed when he ditched his wife and artistic collaborator Polly Platt for Cybill Shepherd. Platt had worked with Bogdanovich on all his early successes, and some critics believe that the controlling artistic consciousness on The Last Picture Show (1971) was Platt's. Parting company with Platt after Paper Moon (1973), Bogdanovich promptly slipped from the heights of a wunderkind to a has-been pursuing epic folly, as evidenced by Daisy Miller (1974) and At Long Last Love (1975).
In 1998 the National Film Preservation Board of the Library of Congress named The Last Picture Show (1971) to the National Film Registry, an honor awarded only to the most culturally significant films.Director / Writer / Film Historian - 2022- Actor
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Alan Arkin was an Academy Award-winning American actor who was also an acclaimed director, producer, author, singer and composer.
He was born Alan Wolf Arkin on March 26, 1934, in Brooklyn, New York. His family were Jewish emigrants from Russia and Germany. In 1946, the Arkins moved from Brooklyn to Los Angeles, California. His father, David I. Arkin, was an artist and writer, who worked as a teacher, and lost his job for merely refusing to answer questions about his political affiliation during the 1950s Red Scare. His father challenged the politically biased dismissal and eventually prevailed, but unfortunately it was after his death. His mother, Beatrice (Wortis) Arkin, a teacher, shared his father's views. Young Arkin was fond of music and acting, he was taking various acting classes from the age of 10. He attended Franklin High School, in Los Angeles, then Los Angeles City College from 1951 - 1953, and Bennington College in Vermont from 1953 - 1954. He sang in a college folk-band, and was involved in a drama class. He dropped out of college to form the folk music group The Tarriers, in which Arkin was the lead singer and played guitar. He co-wrote the 1956 hit "The Banana Boat Song" - a Jamaican calypso folk song, which became better known as Harry Belafonte's popular version, and reached #4 on the Billboard chart. At that time Arkin was a struggling young actor who played bit parts on television and on stage, and made a living as a delivery boy, repairman, pot washer and baby sitter. From 1958 - 1968 he performed and recorded with the children's folk group, The Babysitters. He has also recorded an entire album for the Elektra label titled "Folksongs - Once Over Lightly."
In 1957 Arkin made his first big screen appearance as a lead singer with The Tarriers in Calypso Heat Wave (1957). Then he made his Off-Broadway debut as a singer in "Heloise" (1958). Next year he joined the Compass Theatre in St. Louis, Missouri. There he caught the eye of stage director Bob Sills and became the original member of the "Second City" troupe in Chicago. In 1961 Arkin made his Broadway debut in musical "From the Second City", for which he wrote lyrics and sketches, then starred as David Kolowitz in the Broadway comedy "Enter Laughing" (1963), for which he won a Tony Award. He starred in a Broadway musical "From the Second City production, then returned to Broadway as Harry Berlin in "Luv" (1964). Arkin made his directorial debut with an Off-Broadway hit called "Eh?" (1966), which introduced the young actor, named Dustin Hoffman. He won a Drama Desk Award for his direction of the Off-Broadway production of "Little Murders" (1969), and another Drama Desk Award for "The White House Murder Case" (1970). He also directed the original version of Neil Simon's hilarious smash, "The Sunshine Boys" (1972), which ran over 500 performances.
Arkin earned his first Academy Award nomination as Best Actor for his feature acting debut in a comedy The Russians Are Coming the Russians Are Coming (1966), by director Norman Jewison, co-starring as Lt. Rozanov, a Soviet submariner who is mistaken for a spy after his boat accidentally wrecks aground in New England. Arkin demonstrated his dramatic range as the psychopathic killer Roat in suspense film Wait Until Dark (1967), opposite Audrey Hepburn. He reinvented himself as the sensitive deaf-mute in The Heart Is a Lonely Hunter (1968), for which he received his second Academy Award Nomination as Best Actor in the Leading role. He followed with what remained his best known role as Captain Yossarian in Catch-22 (1970), directed by Mike Nichols and based on the eponymous anti-war novel by Joseph Heller. In it Arkin arguably gave his strongest performance, however, his career suffered because the film initially did not live up to expectations. After a few years of directorial work on television, Arkin made a comeback with an impressive portrayal of doctor Sigmund Freud in The Seven-Per-Cent Solution (1976). In the early 1980s he acted in three movies that were family affairs, written by his wife, Barbara Dana, and co-starring his son, Adam Arkin.
During the 1990s he turned out several notable performances, such as a bitter former baseball player in TNT's Cooperstown (1993), and as a hilarious psychiatrist opposite John Cusack in Grosse Pointe Blank (1997). He won raves for his portrayal of a divorced father who struggles to keep his kids enrolled in the Beverly Hills school system in Slums of Beverly Hills (1998). Arkin gave a brilliant performance opposite Robin Williams in Jakob the Liar (1999), a film about the Nazi occupation of Poland. He also returned to the New York stage co-starring with his son, Tony Arkin and Elaine May in "Power Plays", which he also co-authored. His most recent comeback as a heroin-snorting, sex-crazed, foul-mouthed grandfather in Little Miss Sunshine (2006), earned him his third Academy Award nomination for Best Performance by an Actor in a Supporting Role, and his first Academy Award.
Alan Arkin had been a modern Renaissance man. In addition to his achievements as an actor, director, and producer, he made his mark as a singer-songwriter with his popular-song compositions "Banana Boat Song", "Cuddle Bug," "That's Me," and "Best Time of the Year." Arkin also authored several books, including science-fiction and some children's stories, such as "The Clearing", "The Lemming Condition" and "Cassie Loves Beethoven" among his other publications. He was a father of three sons, Adam Arkin, Matthew Arkin, and Anthony Arkin, and a grandfather of Molly Arkin.
Alan Arkin was a strong supporter of an organic way of living and also a proponent for preservation of the environment and natural habitat. He avoided the show-biz-milieu and was known as an actor who does not really care about prestigious awards, but values having a good job and being acknowledged by his peers. In Arkin's own words he wanted to "Stay home for three months. Living as quietly as humanly possible." Arkin was given an Indian name, Grey Wolf, by his Native American friends in New Mexico.
Alan Arkin died in California on June 29, 2023 at the age of 89. He is survived by his three sons - Adam, Matthew, and Anthony Dana Arkin, and with Dana, Alan Arkin is survived by third wife, Suzanne Newlander Arkin, whom he married in 1999.Actor / Filmmaker - 2023