The Best Actor 1972
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Veteran actor and director Robert Selden Duvall was born on January 5, 1931, in San Diego, CA, to Mildred Virginia (Hart), an amateur actress, and William Howard Duvall, a career military officer who later became an admiral. Duvall majored in drama at Principia College (Elsah, IL), then served a two-year hitch in the army after graduating in 1953. He began attending The Neighborhood Playhouse School of the Theatre In New York City on the G.I. Bill in 1955, studying under Sanford Meisner along with Dustin Hoffman, with whom Duvall shared an apartment. Both were close to another struggling young actor named Gene Hackman. Meisner cast Duvall in the play "The Midnight Caller" by Horton Foote, a link that would prove critical to his career, as it was Foote who recommended Duvall to play the mentally disabled "Boo Radley" in To Kill a Mockingbird (1962). This was his first "major" role since his 1956 motion picture debut as an MP in Somebody Up There Likes Me (1956), starring Paul Newman.
Duvall began making a name for himself as a stage actor in New York, winning an Obie Award in 1965 playing incest-minded longshoreman "Eddie Carbone" in the off-Broadway revival of Arthur Miller's "A View from the Bridge", a production for which his old roommate Hoffman was assistant director. He found steady work in episodic TV and appeared as a modestly billed character actor in films, such as Arthur Penn's The Chase (1966) with Marlon Brando and in Robert Altman's Countdown (1967) and Francis Ford Coppola's The Rain People (1969), in both of which he co-starred with James Caan.
He was also memorable as the heavy who is shot by John Wayne at the climax of True Grit (1969) and was the first "Maj. Frank Burns", creating the character in Altman's Korean War comedy M*A*S*H (1970). He also appeared as the eponymous lead in George Lucas' directorial debut, THX 1138 (1971). It was Francis Ford Coppola, casting The Godfather (1972), who reunited Duvall with Brando and Caan and provided him with his career breakthrough as mob lawyer "Tom Hagen". He received the first of his six Academy Award nominations for the role.
Thereafter, Duvall had steady work in featured roles in such films as The Godfather Part II (1974), The Killer Elite (1975), Network (1976), The Seven-Per-Cent Solution (1976) and The Eagle Has Landed (1976). Occasionally this actor's actor got the chance to assay a lead role, most notably in Tomorrow (1972), in which he was brilliant as William Faulkner's inarticulate backwoods farmer. He was less impressive as the lead in Badge 373 (1973), in which he played a character based on real-life NYPD detective Eddie Egan, the same man his old friend Gene Hackman had won an Oscar for playing, in fictionalized form as "Popeye Doyle" in The French Connection (1971).
It was his appearance as "Lt. Col. Kilgore" in another Coppola picture, Apocalypse Now (1979), that solidified Duvall's reputation as a great actor. He got his second Academy Award nomination for the role, and was named by the Guinness Book of World Records as the most versatile actor in the world. Duvall created one of the most memorable characters ever assayed on film, and gave the world the memorable phrase, "I love the smell of napalm in the morning!"
Subsequently, Duvall proved one of the few established character actors to move from supporting to leading roles, with his Oscar-nominated turns in The Great Santini (1979) and Tender Mercies (1983), the latter of which won him the Academy Award for Best Actor. Now at the summit of his career, Duvall seemed to be afflicted with the fabled "Oscar curse" that had overwhelmed the careers of fellow Academy Award winners Luise Rainer, Rod Steiger and Cliff Robertson. He could not find work equal to his talents, either due to his post-Oscar salary demands or a lack of perception in the industry that he truly was leading man material. He did not appear in The Godfather Part III (1990), as the studio would not give in to his demands for a salary commensurate with that of Al Pacino, who was receiving $5 million to reprise Michael Corleone.
His greatest achievement in his immediate post-Oscar period was his triumphant characterization of grizzled Texas Ranger Gus McCrae in the TV mini-series Lonesome Dove (1989), for which he received an Emmy nomination. He received a second Emmy nomination and a Golden Globe for his portrayal of Soviet dictator Joseph Stalin in Stalin (1992), and a third Emmy nomination playing Nazi war criminal Adolf Eichmann in The Man Who Captured Eichmann (1996).
The shakeout of his career doldrums was that Duvall eventually settled back into his status as one of the premier character actors in the industry, rivaled only by his old friend Gene Hackman. Duvall, unlike Hackman, also has directed pictures, including the documentary We're Not the Jet Set (1974), Angelo My Love (1983) and Assassination Tango (2002). As a writer-director, Duvall gave himself one of his most memorable roles, that of the preacher on the run from the law in The Apostle (1997), a brilliant performance for which he received his third Best Actor nomination and fifth Oscar nomination overall. The film brought Duvall back to the front ranks of great actors, and was followed by a Best Supporting Actor Oscar nod for A Civil Action (1998).
Robert Duvall will long be remembered as one of the great naturalistic American screen actors in the mode of Spencer Tracy and his frequent co-star Marlon Brando. His performances as "Boo Radley" in To Kill a Mockingbird (1962), "Jackson Fentry" in Tomorrow (1972), "Tom Hagen" in the first two "Godfather" movies, "Frank Hackett" in Network (1976), "Lt. Col. Kilgore" in Apocalypse Now (1979), "Bull Meechum" in The Great Santini (1979), "Mac Sledge" in Tender Mercies (1983), "Gus McCrae" in Lonesome Dove (1989) and "Sonny Dewey" in The Apostle (1997) rank as some of the finest acting ever put on film. It's a body of work that few actors can equal, let alone surpass.1614 points- Actor
- Sound Department
- Additional Crew
Yves Montand was born on 13 October 1921 in Monsummano Terme, Tuscany, Italy. He was an actor, known for Jean de Florette (1986), Z (1969) and The Wages of Fear (1953). He was married to Simone Signoret. He died on 9 November 1991 in Senlis, Oise, France.1572 points- Renato Salvatori was born on 20 March 1933 in Seravezza, Tuscany, Italy. He was an actor, known for Z (1969), Rocco and His Brothers (1960) and The Organizer (1963). He was married to Annie Girardot. He died on 27 March 1988 in Rome, Lazio, Italy.1494 points
- Actor
- Director
- Writer
Born in Milan in 1933, Gian Maria Volontè studied in Rome at the National Dramatic Arts Academy, where he obtained his degree in 1957. He began working in theatre and television, where he was soon noticed as one of the most promising actors of his generation. After several supporting appearances in film, he reached notoriety with the character of Ramón Rojo in Sergio Leone's A Fistful of Dollars (1964). This success was doubled in Leone's next film, For a Few Dollars More (1965). The following ten years would be the most intense of Volontè career. L'armata Brancaleone (1966) (directed by Mario Monicelli) was the most successful Italian movie of the year, We Still Kill the Old Way (1967) (directed by Elio Petri) won the Grand Prix du Scenario at the Cannes Film Festival, and Volontè won his first Nastro d'Argento (Silver Ribbon - the most prestigious acting award in Italy) in 1970 for Investigation of a Citizen Above Suspicion (1970) (also directed by Petri), making him an international star. The film won the Academy Award for Best Foreign-Language Film, the Grand Prix at the Cannes Film Festival and two Italian Golden Globes, including one for his performance. In 1972, he starred in two Italian movies as the protagonist: Petri's The Working Class Goes to Heaven (1971) and Francesco Rosi's The Mattei Affair (1972), both of which won the Grand Prix at the Cannes Film Festival, where he also won a Special Mention. In his life, Volontè won a huge number of other prizes and honours, becoming one of the most celebrated Italian actors of the seventies, and challenging Vittorio Gassman and Marcello Mastroianni as the most popular Italian actor. He died in Greece in 1994.1475 points- Producer
- Actor
- Director
Born on August 18, 1936, in Santa Monica, California, to Charles Robert Redford, an accountant for Standard Oil, and Martha Redford, Charles Robert Redford, Jr. was a scrappy kid who stole hubcaps in high school and lost his college baseball scholarship at the University of Colorado because of drunkenness. However, as a high school student, he had displayed a certain aptitude as a caricaturist and this contributed to his decision to seriously study art. Redford then enjoyed a year-long sojourn travelling around Europe, hitchhiking, living in youth hostels and generally living the painter's life. Eventually, he came to realise that his work was unoriginal and not very good. He therefore returned to New York to pursue studies in theatrical design at the Pratt Institute of Art. He subsequently enrolled in acting classes at the American Academy of Dramatic Arts.
By the end of 1960, he was on Broadway in a series of plays including Barefoot in the Park, which launched him to fame. TV and stage experience coupled with all-American good looks led to movies and a breakthrough role in Butch Cassidy and the Sundance Kid (1969), when the actor was 33. The Way We Were (1973) and The Sting (1973), both in 1973, made Redford No. 1 at the box office for the next three years. Redford used his clout to advance environmental causes and his riches to acquire Utah property, which he transformed into a ranch and the Sundance ski resort. In 1980, he established the Sundance Institute for aspiring filmmakers. Its annual film festival has become one of the world's most influential. Redford's directorial debut, Ordinary People (1980), won him the Academy Award for Best Director in 1981. He waited eight years before getting behind the camera again, this time for the screen version of John Nichols' acclaimed novel of the Southwest, The Milagro Beanfield War (1988). He scored with critics and fans in 1992 with the Brad Pitt film A River Runs Through It (1992), and again, in 1994, with Quiz Show (1994), which earned him yet another Best Director nomination.
Redford married Lola Van Wagenen on August 9, 1958; they divorced in 1985 after having four children, one of which died of sudden infant death syndrome. Daughter Shauna Redford, born November 15, 1960, is a painter who married Eric Schlosser on October 5, 1985, in Provo, Utah; her first child, born in January 1991, made Redford a grandfather. Son James Redford, a screenwriter, was born May 5, 1962. Daughter Amy Redford, an actress, was born October 22, 1970. Redford has a half-brother named William, who worked in medical research.1446 points- Actor
- Producer
- Art Department
Jeffrey Leon Bridges was born on December 4, 1949 in Los Angeles, California, the son of well-known film and TV star Lloyd Bridges and his long-time wife Dorothy Dean Bridges (née Simpson). He grew up amid the happening Hollywood scene with big brother Beau Bridges. Both boys popped up, without billing, alongside their mother in the film The Company She Keeps (1951), and appeared on occasion with their famous dad on his popular underwater TV series Sea Hunt (1958) while growing up. At age 14, Jeff toured with his father in a stage production of "Anniversary Waltz". The "troublesome teen" years proved just that for Jeff and his parents were compelled at one point to intervene when problems with drugs and marijuana got out of hand.
He recovered and began shaping his nascent young adult career appearing on TV as a younger version of his father in the acclaimed TV- movie Silent Night, Lonely Night (1969), and in the strange Burgess Meredith film The Yin and the Yang of Mr. Go (1970). Following fine notices for his portrayal of a white student caught up in the racially-themed Halls of Anger (1970), his career-maker arrived just a year later when he earned a coming-of-age role in the critically-acclaimed ensemble film The Last Picture Show (1971). The Peter Bogdanovich- directed film made stars out off its young leads (Bridges, Timothy Bottoms, Cybill Shepherd) and Oscar winners out of its older cast (Ben Johnson, Cloris Leachman). The part of Duane Jackson, for which Jeff received his first Oscar-nomination (for "best supporting actor"), set the tone for the types of roles Jeff would acquaint himself with his fans -- rambling, reckless, rascally and usually unpredictable).
Owning a casual carefree handsomeness and armed with a perpetual grin and sly charm, he started immediately on an intriguing 70s sojourn into offbeat filming. Chief among them were his boxer on his way up opposite a declining Stacy Keach in Fat City (1972); his Civil War-era conman in the western Bad Company (1972); his redneck stock car racer in The Last American Hero (1973); his young student anarchist opposite a stellar veteran cast in Eugene O'Neill's The Iceman Cometh (1973); his bank-robbing (also Oscar-nominated) sidekick to Clint Eastwood in Thunderbolt and Lightfoot (1974); his aimless cattle rustler in Rancho Deluxe (1975); his low-level western writer who wants to be a real-life cowboy in Hearts of the West (1975); and the brother of an assassinated President who pursues leads to the crime in Winter Kills (1979). All are simply marvelous characters that should have propelled him to the very top rungs of stardom...but strangely didn't.
Perhaps it was his trademark ease and naturalistic approach that made him somewhat under appreciated at that time when Hollywood was run by a Dustin Hoffman, Robert De Niro and Al Pacino-like intensity. Neverthless, Jeff continued to be a scene-stealing favorite into the next decade, notably as the video game programmer in the 1982 science-fiction cult classic Tron (1982), and the struggling musician brother vying with brother Beau Bridges over the attentions of sexy singer Michelle Pfeiffer in The Fabulous Baker Boys (1989). Jeff became a third-time Oscar nominee with his highly intriguing (and strangely sexy) portrayal of a blank-faced alien in Starman (1984), and earned even higher regard as the ever-optimistic inventor Preston Tucker in Tucker: The Man and His Dream (1988).
Since then Jeff has continued to pour on the Bridges magic on film. Few enjoy such an enduring popularity while maintaining equal respect with the critics. The Fisher King (1991), American Heart (1992), Fearless (1993), The Big Lebowski (1998) (now a cult phenomenon) and The Contender (2000) (which gave him a fourth Oscar nomination) are prime examples. More recently he seized the moment as a bald-pated villain as Robert Downey Jr.'s nemesis in Iron Man (2008) and then, at age 60, he capped his rewarding career by winning the elusive Oscar, plus the Golden Globe and Screen Actor Guild awards (among many others), for his down-and-out country singer Bad Blake in Crazy Heart (2009). Bridges next starred in Tron: Legacy (2010), reprising one of his more famous roles, and received another Oscar nomination for Best Actor for his role in the Western remake True Grit (2010). In 2014, he co-produced and starred in an adaptation of the Lois Lowry science fiction drama The Giver (2014).
Jeff has been married since 1977 to non-professional Susan Geston (they met on the set of Rancho Deluxe (1975)). The couple have three daughters, Isabelle (born 1981), Jessica (born 1983), and Hayley (born 1985). He hobbies as a photographer on and off his film sets, and has been known to play around as a cartoonist and pop musician. His ancestry is English, and smaller amounts of Scots-Irish (Northern Irish), Irish, Swiss-German, and German.1446 points- Actor
- Producer
- Director
Stacy Keach has played to grand success a constellation of the classic and contemporary stage's greatest roles, and he is considered a pre-eminent American interpreter of Shakespeare. His SRO run as "King Lear" at the Shakespeare Theatre Company in Washington, D.C. received the best reviews any national leader has earned in that town for decades. Peter Marks of the Washington Post called Mr. Keach's Lear "magnificent". He recently accepted his third prestigious Helen Hayes Award for Leading Actor in 2010 for his stellar performance. His next stage appearance premiering January 13, 2011 at the Lincoln Center in New York is "Other Desert Cities" by Jon Robin Baitz and teaming him with Stockard Channing, Linda Lavin and Elizabeth Marvel.
His latest television series, Lights Out (2011), on the FX network is a major new mid-season dramatic show, taking him back to the world of boxing which has been a rich setting for him before, notably in Huston's Fat City (1972) which ignited Keach's career as a film star.
Versatility embodies the essence of Stacy Keach's career in film and television as well as on stage. The range of his roles is remarkable. His recent performance in Oliver Stone's "W" prompted fellow actor Alec Baldwin to blog an impromptu review matching Huston's amazement at Keach's power. Perhaps best known around the world for his portrayal of the hard-boiled detective, Mike Hammer, Stacy Keach is also well-known among younger generations for his portrayal of the irascible, hilarious Dad, Ken Titus, in the Fox sitcom, Titus, and more recently as Warden Henry Pope in the hit series, Prison Break. Following his triumphant recent title role performance in King Lear for the prestigious Goodman Theatre in Chicago, Keach joined the starring cast of John Sayles' recent film, Honeydripper. In the most recent of his non-stop activities, he has completed filming Deathmatch for the Spike Channel, and The Boxer for Zeitsprung Productions in Berlin, Germany.
German audiences will also see him as one of the co-stars in the multi-million dollar production of Hindenburg: The Last Flight (2011), scheduled to air in January, 2011 with worldwide release thereafter. Mr. Keach co-stars in the new FX series entitled Lights Out (2011) about a boxing family, where he plays the Dad-trainer of two boxing sons played by Holt McCallany and Pablo Schreiber. The series is also scheduled to air in January, 2011. Keach returns to the New York stage at the start of the 2011 in Jon Robin Baitz's new play, "Other Desert Cities," at the Lincoln Center.
Capping his heralded accomplishment on the live stage of putting his own stamp on some of the theatre world's most revered and challenging roles over the past year when he headed the national touring company cast of "Frost/Nixon," portraying Richard M. Nixon, bringing still another riveting characterization to the great legit stages of Los Angeles, Chicago, Boston, the nation's capitol and other major cities. He won his second Best Actor Helen Hayes Award for his outstanding performance. His second triumphant portrayal of King Lear in the past three years, this time for the Shakespeare Theatre Company in the nation's capital earned reviews heard around the world, with resulting offers for him to repeat that giant accomplishment in New York, Los Angeles and even Beijing.
An accomplished pianist and composer, Mr. Keach composed the music for the film, Imbued (2009), directed by Rob Nilssen, a celebrated film festival favorite, in which Keach also starred. He has also completed composing the music for the Mike Hammer audio radio series, "Encore For Murder", written by Max Collins, directed by Carl Amari, and produced by Blackstone Audio.
Mr. Keach began his film career in the late 1960's with _The Heart Is A Lonely Hunter_, followed by _The New Centurions_ with George C. Scott; Doc Holiday with Faye Dunaway in the film 'Doc' (1971); an over-the-hill boxer,Billy Tully in Fat City (1972); directed by John Huston, and The Long Riders (1980), which he co-produced and co-wrote with his brother, James Keach, directed by Walter Hill. On the lighter side, his characterization of Sgt. Stedenko in Cheech and Chong's Up in Smoke (1978), and the sequel, Nice Dreams (1981), gave a whole new generation a taste of Mr. Keach's comedic flair, which he also demonstrated in Robert Altman's Brewster McCloud (1970), playing the oldest living lecherous Wright Brother; and The Life and Times of Judge Roy Bean (1972) where he played a crazed albino out to kill Paul Newman.
Historical roles have always attracted him. In movies he has played roles ranging from Martin Luther to Frank James. On television he has been Napoleon, Wilbur Wright, J. Robert Oppenheimer, Barabbas, Sam Houston, and Ernest Hemingway, for which he won a Golden Globe as Best Actor in a mini-series and was nominated for an Emmy in the same category. He played an eccentric painter, Mistral, in the Judith Krantz classic, Mistral's Daughter (1984), a northern spy in the civil war special, The Blue and the Gray (1982), more recently as the pirate Benjamin Hornigold in the Hallmark epic Blackbeard (2006).
As a director, his production of Arthur Miller's Incident at Vichy (1973) for PBS was, according to Mr. Miller in his autobiography, Timebends, "the most expressive production of that play he had seen." He won a Cine Golden Eagle Award for his work on the dramatic documentary, The Repeater, in which he starred and also wrote and directed.
But it is perhaps the live theatre where Mr. Keach shines brightest. He began his professional career with the New York Shakespeare Festival in 1964, doubling as Marcellus and the Player King in a production of Hamlet directed by Joseph Papp and which featured Julie Harris as Ophelia. He rose to prominence in 1967 in the Off-Broadway political satire, MacBird, where the title role was a cross between Lyndon Johnson and Macbeth and for which he received the first of his three Obie awards. He played the title roles in Henry 5, Hamlet (which he played 3 times), Richard 3, Macbeth, and most recently as King Lear in Robert Falls' modern adaptation at Chicago's Goodman Theatre, which Charles Isherwood of the NY Times called "terrific" and "a blistering modern-dress production that brings alive the morally disordered universe of the play with a ferocity unmatched by any other production I've seen." Mr. Keach's stage portrayals of Peer Gynt, Falstaff and Cyrano de Bergerac, and Hamlet caused the New York Times to dub him "the finest American classical actor since John Barrymore."
Mr. Keach's Broadway credits include his Broadway debut, Indians, where he played Buffalo Bill and was nominated for a Tony award as Best Actor. He starred in Ira Levin's Deathtrap, the Pulitzer Prize winning Kentucky Cycle (for which he won his first Helen Hayes award as Best Actor), the Rupert Holmes one-man thriller, Solitary Confinement, where Mr. Keach played no less than six roles, all unbeknownst to the audience until the end of the play. In the musical theatre, he starred in the national tour of Barnum, played the King in Camelot for Pittsburgh's Civic Light Opera, and the King in The King and I, which he also toured in Japan. He starred in the Jon Robin Baitz play, Ten Unknowns, at the Mark Taper Forum in 2003. The LA Times said: "And then there's Keach. What a performance! How many actors can manage such thunder and such sweet pain. He's been away from the LA stage too long. Welcome back."
In 2004, he starred as Scrooge in Boston's Trinity Rep musical production of A Christmas Carol; earlier in 2004, he starred as Phil Ochsner in Arthur Miller's last play Finishing The Picture, directed by Robert Falls at the Goodman Theatre.
As a narrator his voice has been heard in countless documentaries; as the host for the Twilight Zone radio series; numerous books on tape, including the Short Stories of Ernest Hemingway. In the year 2000, he recorded a CD of all of Shakespeare's Sonnets. He recently recorded the voice of St. Paul for a new audio version of The New Testament:, The Word of Promise and Job for the Old Testament edition. He is the narrator on CNBC's new hit show, American Greed (2007), and recently narrated the award-winning documentary, The Pixar Story (2007). He has also reprised his role as Mike Hammer in the Blackstone audio series, the most recent being "Encore for Murder". A charter-member of LA Theatre Works, Mr. Keach recently played the title role in Bertolt Brecht's Galileo, recorded both for radio and CD. He was seen on CBS's hit show Two and a Half Men (2003) as the gay Dad of Charlie's fiance.
Stacy Keach also believes strongly in 'giving back' and has been the Honorary Chair for the Cleft Palate Foundation for the past twenty-five years. He is also the national spokesman for the World Craniofacial organization. He has served on the Artist's Committee for the Kennedy Center Honors for two decades, is on the board of directors for Genesis at the Crossroads, a Chicago-based organization dedicated to bringing peoples of combatant cultures together through the shared artistic expressions of the visual and culinary arts, music, dance, and theater. He also serves on the artistic board for Washington DC's Shakespeare Theatre National Council, where he was also honored in 2000 with their prestigious Millennium Award for his contribution to classical theatre. Some years ago Hollywood honored him with a Celebrity Outreach Award for his work with charitable organizations.
He has been the recipient of Lifetime Achievement Awards from Pacific Pioneer's Broadcasters, the San Diego Film Festival, the Pacific Palisades Film Festival, and The 2007 Oldenburg Film Festival in Germany. Later this year, he will be awarded the 2010 Lifetime Award from the St. Louis Film Festival. In 2008, he received the Mary Pickford Award for versatility in acting.
Mr. Keach was a Fulbright scholar to the London Academy of Music and Dramatic Art, attended the University of California at Berkeley and the Yale Drama School. He has always been a star of the American stage, especially in Shakespearen roles such as Hamlet, Henry 5, Coriolanus, Falstaff, Macbeth, Richard 3, and most recently, King Lear.
Of his many accomplishments, Mr. Keach claims that his greatest accomplishment is his family. He has been married to his beautiful wife Malgosia for twenty-five years, and they have two wonderful children, Shannon Keach (1988), and daughter Karolina Keach (1990).1431 points- Actor
- Director
- Writer
Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.856 points- Actor
- Director
- Producer
Alfredo James "Al" 'Pacino established himself as a film actor during one of cinema's most vibrant decades, the 1970s, and has become an enduring and iconic figure in the world of American movies.
He was born April 25, 1940 in Manhattan, New York City, to Italian-American parents, Rose (nee Gerardi) and Sal Pacino. They divorced when he was young. His mother moved them into his grandparents' home in the South Bronx. Pacino found himself often repeating the plots and voices of characters he had seen in the movies. Bored and unmotivated in school, he found a haven in school plays, and his interest soon blossomed into a full-time career. Starting onstage, he went through a period of depression and poverty, sometimes having to borrow bus fare to succeed to auditions. He made it into the prestigious Actors Studio in 1966, studying under Lee Strasberg, creator of the Method Approach that would become the trademark of many 1970s-era actors.
After appearing in a string of plays in supporting roles, Pacino finally attained success off-Broadway with Israel Horovitz's "The Indian Wants the Bronx", winning an Obie Award for the 1966-67 season. That was followed by a Tony Award for "Does the Tiger Wear a Necktie?" His first feature films made little departure from the gritty realistic stage performances that earned him respect: he played a drug addict in The Panic in Needle Park (1971) after his film debut in Me, Natalie (1969). The role of Michael Corleone in The Godfather (1972) was one of the most sought-after of the time: Robert Redford, Warren Beatty, Jack Nicholson, Ryan O'Neal, Robert De Niro and a host of other actors either wanted it or were mentioned, but director Francis Ford Coppola wanted Pacino for the role.
Coppola was successful but Pacino was reportedly in constant fear of being fired during the very difficult shoot. The film was a monster hit that earned Pacino his first Academy Award nomination for Best Supporting Actor. However, instead of taking on easier projects for the big money he could now command, Pacino threw his support behind what he considered tough but important films, such as the true-life crime drama Serpico (1973) and the tragic real-life bank robbery film Dog Day Afternoon (1975). He was nominated three consecutive years for the "Best Actor" Academy Award. He faltered slightly with Bobby Deerfield (1977), but regained his stride with And Justice for All (1979), for which he received another Academy Award nomination for Best Actor. Unfortunately, this would signal the beginning of a decline in his career, which produced flops like Cruising (1980) and Author! Author! (1982).
Pacino took on another vicious gangster role and cemented his legendary status in the ultra-violent cult film Scarface (1983), but a monumental mistake was about to follow. Revolution (1985) endured an endless and seemingly cursed shoot in which equipment was destroyed, weather was terrible, and Pacino fell ill with pneumonia. Constant changes in the script further derailed the project. The Revolutionary War-themed film, considered among the worst films ever made, resulted in awful reviews and kept him off the screen for the next four years. Returning to the stage, Pacino did much to give back and contribute to the theatre, which he considers his first love. He directed a film, The Local Stigmatic (1990), but it remains unreleased. He lifted his self-imposed exile with the striking Sea of Love (1989) as a hard-drinking policeman. This marked the second phase of Pacino's career, being the first to feature his now famous dark, owl eyes and hoarse, gravelly voice.
Returning to the Corleones, Pacino made The Godfather Part III (1990) and earned raves for his first comedic role in the colorful adaptation Dick Tracy (1990). This earned him another Academy Award nomination for Best Supporting Actor, and two years later he was nominated for Glengarry Glen Ross (1992). He went into romantic mode for Frankie and Johnny (1991). In 1992, he finally won the Academy Award for Best Actor for his amazing performance in Scent of a Woman (1992). A mixture of technical perfection (he plays a blind man) and charisma, the role was tailor-made for him, and remains a classic.
The next few years would see Pacino becoming more comfortable with acting and movies as a business, turning out great roles in great films with more frequency and less of the demanding personal involvement of his wilder days. Carlito's Way (1993) proved another gangster classic, as did the epic crime drama Heat (1995) directed by Michael Mann and co-starring Robert De Niro. He directed the film adaptation of Shakespeare's Looking for Richard (1996). During this period, City Hall (1996), Donnie Brasco (1997) and The Devil's Advocate (1997) all came out. Reteaming with Mann and then Oliver Stone, he gave commanding performances in The Insider (1999) and Any Given Sunday (1999).
In the 2000s, Pacino starred in a number of theatrical blockbusters, including Ocean's Thirteen (2007), but his choice in television roles (the vicious, closeted Roy Cohn in the HBO miniseries Angels in America (2003) and his sensitive portrayal of Jack Kevorkian, in the television movie You Don't Know Jack (2010)) are reminiscent of the bolder choices of his early career. Each television project garnered him an Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie.
Never wed, Pacino has a daughter, Julie Marie, with acting teacher Jan Tarrant, and a set of twins with former longtime girlfriend Beverly D'Angelo. His romantic history includes Jill Clayburgh, Veruschka von Lehndorff, Carole Mallory, Debra Winger, Tuesday Weld, Marthe Keller, Carmen Cervera, Kathleen Quinlan, Lyndall Hobbs, Penelope Ann Miller, and a two-decade intermittent relationship with "Godfather" co-star Diane Keaton. He currently lives with Argentinian actress Lucila Solá, who is 36 years his junior.
As of 2022, Pacino is 82-years-old. He has never retired from acting, and continues to appear regularly in film.856 points- Actor
- Director
- Stunts
A masculine and enigmatic actor whose life and movie career have had more ups and downs than the average rollercoaster and whose selection of roles has arguably derailed him from achieving true superstar status, James Caan is New York-born and bred.
He was born in the Bronx, to Sophie (Falkenstein) and Arthur Caan, Jewish immigrants from Germany. His father was a meat dealer and butcher. The athletically gifted Caan played football at Michigan State University while studying economics, holds a black belt in karate and for several years was even a regular on the rodeo circuit, where he was nicknamed "The Jewish Cowboy". However, while studying at Hofstra University, he became intrigued by acting and was interviewed and accepted at Sanford Meisner's Neighborhood Playhouse. He then won a scholarship to study under acting coach Wynn Handman and began to appear in several off-Broadway productions, including "I Roam" and "Mandingo".
He made his screen debut as a sailor in Irma la Douce (1963) and began to impress audiences with his work in Red Line 7000 (1965) and the western El Dorado (1966) alongside John Wayne and Robert Mitchum. Further work followed in Journey to Shiloh (1968) and in the sensitive The Rain People (1969). However, audiences were moved to tears as he put in a heart-rending performance as cancer-stricken Chicago Bears running back Brian Piccolo in the highly rated made-for-TV film Brian's Song (1971).
With these strong performances under his belt, Francis Ford Coppola then cast him as hot-tempered gangster Santino "Sonny" Corleone in the Mafia epic The Godfather (1972). The film was an enormous success, Caan scored a Best Supporting Actor nomination and, in the years since, the role has proven to be the one most fondly remembered by his legion of fans. He reprised the role for several flashback scenes in the sequel The Godfather Part II (1974) and then moved on to several very diverse projects. These included a cop-buddy crime partnership with Alan Arkin in the uneven Freebie and the Bean (1974), a superb performance as a man playing for his life in The Gambler (1974) alongside Lauren Hutton, and pairing with Barbra Streisand in Funny Lady (1975). Two further strong lead roles came up for him in 1975, first as futuristic sports star "Jonathon E" questioning the moral fiber of a sterile society in Rollerball (1975) and teaming up with Robert Duvall in the Sam Peckinpah spy thriller The Killer Elite (1975).
Unfortunately, Caan's rising star sputtered badly at this stage of his career, and several film projects failed to find fire with either critics or audiences. These included such failures as the hokey Harry and Walter Go to New York (1976), the quasi-western Comes a Horseman (1978) and the saccharine Chapter Two (1979). However, he did score again with the stylish Michael Mann-directed heist movie Thief (1981). He followed this with a supernatural romantic comedy titled Kiss Me Goodbye (1982) and then, due to personal conflicts, dropped out of the spotlight for several years before returning with a stellar performance under old friend Francis Ford Coppola in the moving Gardens of Stone (1987).
Caan appeared back in favor with fans and critics alike and raised his visibility with the sci-fi hit Alien Nation (1988) and Dick Tracy (1990), then surprised everyone by playing a meek romance novelist held captive after a car accident by a deranged fan in the dynamic Misery (1990). The 1990s were kind to him and he notched up roles as a band leader in For the Boys (1991), another gangster in Honeymoon in Vegas (1992), appeared in the indie hit Bottle Rocket (1996) and pursued Arnold Schwarzenegger in Eraser (1996).
The demand on Caan's talents seems to have increased steadily over the past few years as he is making himself known to a new generation of fans. Recent hot onscreen roles have included The Yards (2000), City of Ghosts (2002) and Dogville (2003). In addition, he finds himself at the helm of the hit TV series Las Vegas (2003) as casino security chief "Big Ed" Deline. An actor of undeniably manly appeal, James Caan continued to surprise and delight audiences with his invigorating performances up until his death in July 2022 at the age of 82.856 points- Actor
- Cinematographer
- Editor
John Cazale was born in Boston, Massachusetts, to an Irish-American mother, Cecilia (Holland), and an Italian-American father, John Cazale. Cazale made only five feature films in his career, which fans and critics alike call classics. But before his film debut, in the short The American Way (1962), he won Obie Awards for his off-Broadway performances in "The Indian Wants the Bronx" and "The Line".
Cazale scored the role of Fredo Corleone in Francis Ford Coppola's The Godfather (1972), after his long-time friend, Al Pacino, invited him to audition. He reprised his role as the troubled Fredo in The Godfather Part II (1974), where his character endures one of the most infamous movie moments in the history of cinema.
Cazale also starred with Gene Hackman and Harrison Ford in the thriller, The Conversation (1974), as Hackman's assistant, Stan. The Godfather's director, Francis Ford Coppola, also directed the movie.
Cazale's fourth feature film, Dog Day Afternoon (1975), earned him a Golden Globe nomination for Best Supporting Actor for his role as Sal, a bank robber. His long-time friend and Godfather costar, Al Pacino, played his partner, Sonny.
His final film, The Deer Hunter (1978), was filmed whilst he was ill with cancer. He was in a relationship with his costar, Meryl Streep, whilst filming The Deer Hunter (1978), whom he met when they both appeared in the New York Public Theater's 1976 production of Shakespeare's Measure for Measure.
Controversy occurred during the filming. While the studio was unaware of his condition, the director, Michael Cimino, knew about it. As Cazale was evidently weak, he was forced to film his scenes first. When the studio discovered he was suffering from cancer, they wanted him removed from the film. His costar and girlfriend, Meryl Streep, threatened to quit if he was fired. He died shortly after filming was completed.856 points- Actor
- Producer
- Director
Laurence Olivier could speak William Shakespeare's lines as naturally as if he were "actually thinking them", said English playwright Charles Bennett, who met Olivier in 1927. Laurence Kerr Olivier was born in Dorking, Surrey, England, to Agnes Louise (Crookenden) and Gerard Kerr Olivier, a High Anglican priest. His surname came from a great-great-grandfather who was of French Huguenot origin.
One of Olivier's earliest successes as a Shakespearean actor on the London stage came in 1935 when he played "Romeo" and "Mercutio" in alternate performances of "Romeo and Juliet" with John Gielgud. A young Englishwoman just beginning her career on the stage fell in love with Olivier's Romeo. In 1937, she was "Ophelia" to his "Hamlet" in a special performance at Kronborg Castle, Elsinore (Helsingør), Denmark. In 1940, she became his second wife after both returned from making films in America that were major box office hits of 1939. His film was Wuthering Heights (1939), her film was Gone with the Wind (1939). Vivien Leigh and Olivier were screen lovers in Fire Over England (1937), 21 Days Together (1940) and That Hamilton Woman (1941).
There was almost a fourth film together in 1944 when Olivier and Leigh traveled to Scotland with Charles C. Bennett to research the real-life story of a Scottish girl accused of murdering her French lover. Bennett recalled that Olivier researched the story "with all the thoroughness of Sherlock Holmes" and "we unearthed evidence, never known or produced at the trial, that would most certainly have sent the young lady to the gallows". The film project was then abandoned. During their two-decade marriage, Olivier and Leigh appeared on the stage in England and America and made films whenever they really needed to make some money.
In 1951, Olivier was working on a screen adaptation of Theodore Dreiser's novel "Sister Carrie" (Carrie (1952)) while Leigh was completing work on the film version of the Tennessee Williams' play, A Streetcar Named Desire (1951). She won her second Oscar for bringing "Blanche DuBois" to the screen. Carrie (1952) was a film that Olivier never talked about. George Hurstwood, a middle-aged married man from Chicago who tricked a young woman into leaving a younger man about to marry her, became a New York street person in the novel. Olivier played him as a somewhat nicer person who didn't fall quite as low. A PBS documentary on Olivier's career broadcast in 1987 covered his first sojourn in Hollywood in the early 1930s with his first wife, Jill Esmond, and noted that her star was higher than his at that time. On film, he was upstaged by his second wife, too, even though the list of films he made is four times as long as hers.
More than half of his film credits come after The Entertainer (1960), which started out as a play in London in 1957. When the play moved across the Atlantic to Broadway in 1958, the role of "Archie Rice"'s daughter was taken over by Joan Plowright, who was also in the film. They married soon after the release of The Entertainer (1960).854 points- Actor
- Producer
- Additional Crew
Michael Caine was born as Maurice Joseph Micklewhite in London, to Ellen (née Burchell), a cook, and Maurice Micklewhite Sr., a fish-market porter. He had a younger brother, Stanley Caine, and an older maternal half-brother named David Burchell. He left school at age 15 and took a series of working-class jobs before joining the British army and serving in Korea during the Korean War, where he saw combat. Upon his return to England, he gravitated toward the theater and got a job as an assistant stage manager. He adopted the name of Caine on the advice of his agent, taking it from a marquee that advertised The Caine Mutiny (1954). In the years that followed, he worked in more than 100 television dramas, with repertory companies throughout England and eventually in the stage hit "The Long and the Short and the Tall".
Zulu (1964), the epic retelling of a historic 19th-century battle in South Africa between British soldiers and Zulu warriors, brought Caine to international attention. Instead of being typecast as a low-ranking Cockney soldier, he played a snobbish, aristocratic officer. Although "Zulu" was a major success, it was the role of Harry Palmer in The Ipcress File (1965) and the title role in Alfie (1966) that made Caine a star of the first magnitude. He epitomized the new breed of actor in mid-1960s England, the working-class bloke with glasses and a down-home accent. However, after initially starring in some excellent films, particularly in the 1960s, including Gambit (1966), Funeral in Berlin (1966), Play Dirty (1969), Battle of Britain (1969), Too Late the Hero (1970), The Last Valley (1971) and especially Get Carter (1971), he seemed to take on roles in below-average films, simply for the money he could by then command.
However, there were some gems amongst the dross. He gave a magnificent performance opposite Sean Connery in The Man Who Would Be King (1975) and turned in a solid one as a German colonel in The Eagle Has Landed (1976). Educating Rita (1983), Blame It on Rio (1984) and Hannah and Her Sisters (1986) (for which he won his first Oscar) were highlights of the 1980s, while more recently Little Voice (1998), The Cider House Rules (1999) (his second Oscar) and Last Orders (2001) have been widely acclaimed. Caine played Nigel Powers in the parody sequel Austin Powers in Goldmember (2002), and Alfred Pennyworth in Christopher Nolan's Dark Knight trilogy. He appeared in several other of Nolan's films including The Prestige (2006), Inception (2010) and Interstellar (2014). He also appeared as a supporting character in Alfonso Cuarón's Children of Men (2006) and Pixar's sequel Cars 2 (2011).
As of 2015, films in which Caine has starred have grossed over $7.4 billion worldwide. He is ranked the ninth highest grossing box office star. Caine is one of several actors nominated for an Academy Award for acting every decade from five consecutive decades (the other being Laurence Olivier and Meryl Streep). He was appointed Commander of the Order of the British Empire in the 1992 Birthday Honours, and was knighted by Queen Elizabeth II in the 2000 Birthday Honours in recognition for his contributions to the cinema.
Caine has been married twice. First to actress Patricia Haines from 1954 to 1958. They had a daughter, Dominique, in 1957. A bachelor for some dozen-plus years after the divorce, he was romantically linked to Edina Ronay (for three years), Nancy Sinatra, Natalie Wood, Candice Bergen, Bianca Jagger, Françoise Pascal and Jill St. John. In 1971 he met his second wife, fashion model Shakira Caine (née Baksh), and they married in 1973, six months before their daughter Natasha was born. The couple has three grandchildren, and in 2023, they celebrated their 50th wedding anniversary.854 points- Actor
- Producer
- Soundtrack
Charles Patrick Ryan O'Neal was an American actor and former boxer. He trained as an amateur boxer before beginning his career in acting in 1960. In 1964, he landed the role of Rodney Harrington on the ABC nighttime soap opera Peyton Place. It was an instant hit and boosted O'Neal's career. He later found success in films, most notably Love Story (1970), for which he received Academy Award and Golden Globe nominations as Best Actor, Peter Bogdanovich's What's Up, Doc? (1972) and Paper Moon (1973), Stanley Kubrick's Barry Lyndon (1975), Richard Attenborough's A Bridge Too Far (1977), and Walter Hill's The Driver (1978). From 2005 to 2017, he had a recurring role in the Fox television series Bones as Max, the father of the show's protagonist.838 points- Actor
- Producer
- Additional Crew
Michael York was born in Fulmer, England, 27 March 1942. He performed on stage with the National Youth Theatre in London's East End and on international tour. Other early acting experience came through the Oxford University Dramatic Society (he graduated from Oxford in1964), the Dundee Repertory, and Laurence Olivier's National Theater Company - where he worked with Franco Zeffirelli, who gave him his film debut as Lucentio in The Taming of The Shrew (1967) and his breakthrough role as Tybalt in Romeo and Juliet (1968). He achieved early TV acclaim for his portrayal of Jolyon in The Forsyte Saga (1967). Other notable early movie roles include Brian Roberts in Cabaret (1972), Count Andrenyi in Murder on the Orient Express (1974) and D'Artagnan in several Musketeers films. He has starred in over 50 TV movies, continued stage work, starring on Broadway, made many spoken word recordings, written and lectured internationally. His autobiography (1993) was issued as "Accidentally on Purpose" in the U.S. and "Travelling Player" in Britain. He was in the hit The Omega Code (1999) with Catherine Oxenberg and Casper Van Dien. He had a great part in all of the "Austin Powers" films.835 points- Helmut Griem was born on 6 April 1932 in Hamburg, Germany. He was an actor, known for Cabaret (1972), The Damned (1969) and Fabrik der Offiziere (1960). He was married to Helga Koehler. He died on 19 November 2004 in Munich, Bavaria, Germany.835 points
- Actor
- Soundtrack
Joel Grey's father, Mickey Katz, created "Borscht Capades" in the early 1950s. Mickey Katz was a musician -- a clarinetist and a saxophone player -- in bands around the east. Mickey was performing, playing in a band in Cleveland, Ohio, which is where Joel Grey was born. Musician and bandleader Spike Jones needed a clarinet player who could do bits, funny things. Mickey went on the road with Jones' band for about a year, the Katz family ending up, as the band all went to California.
One day his father Mickey was doing a recording session at the Sunset Boulevard RCA-Victor recording studio in Hollywood, and during a break, Mickey always wrote parodies to pop songs for fun and had just written this parody -- he was singing it to one of the other Jewish musicians. Unbeknownst to him the microphone was open in the control room and this group of non-Jewish, white-bread heads of RCA-Victor were sitting there and he's singing a Yiddish song. They didn't know what he was singing but they were laughing and laughing and they decided to record it. The recording became an enormous hit. The records were so successful Mickey put together a variety show that sold out every week in Los Angels at the Wilshire Ebell Theater. Joel knew, even at 9, that he was going to become an actor. When his father had this variety show, Joel said, "How can I be in it?" And his father said, "Well, what do you want to do?" Joel replied, "I don't know how to sing and I don't dance, but I'll run around and I'll move."
So Joel's aunt dropped him a song that was a big record in New York, a Yiddish song -- it was a million words and very fast and it was very popular with the audience -- and Joel learned it by rote. Joel had no idea what he was saying or singing and the next thing he knew, he was boxed in to being a song-and-dance man as opposed to an actor. "Romania, Romania." The song was like a Danny Kaye spectacular, fast, patter song that left a lot of room to dance and sing and mug and do all the things like his hero at the time -- Jerry Lewis. Maybe two years, Eddie Cantor saw Joel in Florida and put him on his "Colgate Comedy Hour' television show, and that was the end of the "Borscht Capades" for Joel, and the beginning of Joel's long tenure in night clubs all over the country.835 points- Donatas Banionis was a popular Lithuanian actor known for Nobody Wanted to Die (1965), Myortvyy sezon (1968), and Solaris (1972).
He was born Donatas Juozas Banionis on April 28, 1924, in Kaunas, Lithuania. His mother, Blazhaitite-Banionene Ona, was a homemaker. His father, Juozas Banionis, was a tailor who took part in the Russian Revolution of 1917, was wounded in the Russian Civil War, then became a political prisoner, and briefly emigrated to Brasil during the 1920s. Young Banionis was raised with his elder sister during the years of Lithuanian independence before WWII.
In 1941 Donatas Banionis was hired by the famous Lithuanian theatrical director Juozas Miltinis and became an actor at the newly formed Panevezys Drama Theatre. He studied acting under Juozas Miltinis and graduated from the Panevezys Acting Studio in 1945. In 1947 Banionis made his film debut: he appeared in a cameo role in 'Marite' (1947). His first major film work was the role of adventurer Daus in 'Adomas nori buti zmogumi' (Adam Wants to Be a Man 1959) by director Vytautas Zalakevicius.
Long before becoming an acclaimed actor Banionis tried to escape from the Soviet Union at the end of the Second World War; but he failed to join his Lithuanian compatriots when they fled the Soviets. Soon the Iron curtain became impenetrable from either side. However, in 1970, as a member of an official Soviet delegation, he made his first visit to the Lithuanian community in Chicago. Then Banionis, being already a famous actor, came to realize that his former compatriots earned their good living and nice homes by working very hard from very poor beginnings. At that time, Banionis enjoyed a highly privileged life as a top film-star in the Soviet Union. He was awarded the State Prize in 1975, and was received by such Soviet leaders as Leonid Brezhnev and Mikhail Gorbachev.
Banionis earned critical acclaim for his role of Vaitkus in 'Niekas nenorejo mirti' (Nobody Wanted to Die, 1966) by director Vytautas Zalakevicius. A powerful film, it was even dubbed the "Lithuanian Seven Samurai." Banionis' tragical character Vaitkus is the undecided one among the Lithuanian "brothers in the woods", who are fighting against the Soviets after the end of the Second World War. Banionis demonstrated his range as a comedian in the comic role of a priest in 'Beregis avtomobilya' (Watch Out for the Automobile, 1966) by director Eldar Ryazanov. Banionis' sweet character blends well with the stellar ensemble of actors, such as Innokentiy Smoktunovskiy, Oleg Efremov, Andrey Mironov, Anatoliy Papanov, Evgeniy Evstigneev, Georgi Zhzhyonov, and other Russian film stars.
Donatas Banionis is a refined intellectual actor with effortless style. His mastery of timing, his powerful silence, and his reserved energy shines in his major film-works; such as in 'King Lear' (1969) by Grigoriy Kozintsev, in 'Solaris' (1972) by Andrei Tarkovsky, in 'Goya - oder Der arge Weg der Erkenntnis' (1971) by director Konrad Wolf, in 'Begstvo mistera Mak-Kinli' by director Mikhail Shvejtser, in 'Beethoven - Days in a Life' (1976) by director Horst Seemann, and in other films.
One of his memorable film-works is the character of a Russian spy 'Ladeinikov' in 'Myortvy Sezon' (The Dead Season, 1968) by director Savva Kulish. That film role provided Banionis with an auspicious connection. In 2004, the actor had a meeting with the Russian President Vladimir Putin. Mr. Putin confirmed that he made up his mind to become an intelligence officer after seeing Banionis in the role of a Russian spy.
In his later works Donatas Banionis constitutes the link between cinema of the past and contemporary Lithuanian film. He showed reserved and convincing work in the role of 'The old man' in 'Kiemas' (Courtyard, 1999), a reflective film about a Lithuanian father and his family's depressing fate in the 1970's Soviet Union. He worked with director Aleksandr Buravskiy in 'Attack on Leningrad' (2006), a film about the historic siege during the Second World War; where his acting partners are Gabriel Byrne, Mira Sorvino, Aleksandr Abdulov, Kirill Lavrov, Mikhail Efremov and others.
During his acting career spanning over sixty five years, Donatas Banionis played over 50 roles in film and on television. He also played over 100 stage roles, mainly at the Panevezys Juozas Miltinis' Drama Theatre. Banionis was designated People's Actor of the USSR (1974), and People's actor of the Lithuanian Republic (1973). He is Chevalier of the Order of the Lithuanian Grand Duke Gediminas.
Donatas Banionis lived in the city of Panevezys, Lithuania. He was Honorable Citizen of Panevezys (1999). Actor died of heart related problems on 4th of September 2014 in Panevezys, Lithuania. He was ninety years old.831 points - Actor
- Writer
- Soundtrack
Jüri Järvet (born as Georgi Kuznetsov) was a highly prolific and respected Estonian screen and stage actor. He was born in Tallinn. His mother moved to Moscow in 1920. Jüri stayed to live in family's friend who later gave him into an orphanage. At the age of five he was taken into a family with three children though his new parents didn't adopt him officially. In 1936 he changed his birth name to Jüri Järvet.
Jüri got his first acting experience in the fourth grade were he had a non speaking part in school play. His next role came in sixth grade. He also appeared in five real theatre plays at his school years but he was replaced when he turned sixteen thus making him too old for the parts. After high school he worked as a messenger in factory's office.
In 1941 during the Soviet occupation in Estonia, he was drafted into Soviet Red Army but was later demobilized. After war Jüri worked as a dancer in Noorsooteater but he felt that dancing isn't something he would like to do so in 1944 he started to study acting and in 1945 he got his first role. Beside his studies he also did editorial work in radio.
His most famous film roles came in 1970s as made title role in Grigoriy Kozintsev's powerful King Lear (1970) (King Lear). In 1972 he played Dr. Snaut in Andrei Tarkovsky's Solaris (1972) and in 1979 he played the owner of the hotel in Grigori Kromanov's cult film _'Hukkunud Alpinisti' hotell (1979)_ (The Dead Mountaineer Hotel).
Jüri Järvet was married twice. In 1948-1958 he was married with actress Inna Taarna. In 1955 their first son Jüri Järvet Jr. was born. In 1958 he married with oncologist Astrid. Couple had daughter Jana in 1960. Jüri died on July 5th 1995 in Tallinn.831 points- Actor
- Additional Crew
- Director
Max von Sydow was born Carl Adolf von Sydow on April 10, 1929 in Lund, Skåne, Sweden, to a middle-class family. He was the son of Baroness Maria Margareta (Rappe), a teacher, and Carl Wilhelm von Sydow, an ethnologist and folklore professor. His surname traces back to his partial German ancestry.
When he was in high school, he and a few fellow students, including Yvonne Lombard, started a theatre club which encouraged his interest in acting. After conscription, he began to study at the Royal Dramatic Theatre's acting school (1948-1951), together with Lars Ekborg, Margaretha Krook and Ingrid Thulin. His first role was as Nils the crofter in Alf Sjöberg's Only a Mother (1949). After graduation, he worked at the city theatres in Norrköping and Malmö.
His work in the movies by Ingmar Bergman (especially The Seventh Seal (1957), including the iconic scenes in which he plays chess with Death) made him well-known internationally, and he started to get offers from abroad. His career abroad began with him playing Jesus in The Greatest Story Ever Told (1965); Hawaii (1966) and The Quiller Memorandum (1966). Since then, his career includes very different kind of characters, like Karl Oskar Nilsson in The Emigrants (1971); Father Lankester Merrin in The Exorcist (1973); Joubert the assassin in Three Days of the Condor (1975), Emperor Ming in Flash Gordon (1980); the villain Ernst Stavro Blofeld in the Never Say Never Again (1983); Liet-Kynes in Dune (1984) the artist Frederick in Hannah and Her Sisters (1986); Lassefar in Pelle the Conqueror (1987), for which he received his first Academy Award nomination; Dr. Peter Ingham in Awakenings (1990); Lamar Burgess in Minority Report (2002) and The Renter in Extremely Loud & Incredibly Close (2011), which earned him his second Academy Award nomination.
He became one of Sweden's most admired and professional actors, and is the only male Swedish actor to receive an Oscar nomination. He was nominated twice: for Pelle the Conqueror (1987) in 1988 and for Extremely Loud & Incredibly Close (2011) in 2012. He received the Guldbagge Award for Best Director in his directing debut, the drama film Ved vejen (1988). In 2016, he joined the sixth season of the HBO series Game of Thrones (2011) as the Three-eyed Raven, which earned him his Primetime Emmy Award nomination.
Max von Sydow died on March 8, 2020, in Provence, France, and was survived by his wife Catherine Brelet and four children. He was 90.818 points- Actor
- Director
- Cinematographer
Sami Frey was born on 13 October 1937 in Paris, France. He is an actor and director, known for Band of Outsiders (1964), En compagnie d'Antonin Artaud (1993) and Black Widow (1987).809 points- Actor
- Director
- Writer
Armin Mueller-Stahl is a German actor with a relatively long film career. He was once nominated for the Academy Award for Best Supporting Actor, for his role as an abusive father in the biographical drama "Shine" (1996).
In 1930, Mueller-Stahl was born in Tilsit, East Prussia. The town developed around the castle of Schalauer Haus, which had been founded by the Teutonic Knights. Tilsit was annexed by the Soviet Union in 1945, and renamed to Sovetsk. It is currently part of the Kaliningrad Oblast, an exclave of Russia located in Central Europe. The town is located close to the Oblast's borders with Lithuania, and has long had an ethnic Lithuanian minority.
Mueller-Stahl's father was bank teller Alfred Müller (who later changed the family name to Mueller-Stahl) ,and his mother was university professor Editha Maaß. Editha was born to a Baltic German family from Estonia. During World War I, the Maaß lived in Petrograd (Saint Petersburg). They moved to Tilsit in 1918.
Mueller-Stahl was born in Germany's Weimar Republic period, and spend his childhood and early adolescence in Nazi Germany. In 1938, he moved with his family to the town of Prenzlau in Brandenburg. During World War II, Mueller-Stahl parted with his father. Alfred was drafted into military service, and later fought on the Eastern Front of World War II. In 1945, Alfred died in a military hospital in Schönberg , Mecklenburg.
In 1945, Editha briefly moved her family to Goorstorf, located near Rostock, the largest city of Mecklenburg. They returned to Prenzlau following the end of World War II. Armin continued his school education there. He graduated from school in 1948, at the age of 18.
Mueller-Stahl initially aspired to become a professional violinist. In 1948, he moved to Berlin. There he attended the city conservatory in West Berlin, where he studied violin playing and musicology. He graduated in 1949, and acquired qualifications to work as a music teacher. At this point, he decided to become an actor instead.
After a few years of studies, Mueller-Stahl made his professional debut at the "Theater am Schiffbauerdamm" of Berlin in 1952. In 1954, he started performing in the Volksbühne ("People's Theatre") , a prestigious theater in East Berlin. For the next 20 years, he was primarily a theatrical actor. During the 1960s, he started a side career as a character actor in East German films. By the 1970s, he repeatedly appeared in polls as East Germany's most popular actor.
From 1973 to 1976, Mueller-Stahl played the Stasi agent Werner Bredebusch in the spy thriller television series "The Invisible Visor" (1973-1979). Bredebusch was initially the series' main character, a Stasi agent who impersonates deceased fighter pilot Achim Detjen and infiltrates West Germany. The series achieved high ratings, and Mueller-Stahll received acclaim. He left the series in 1976, and its ratings soon declined.
In 1976, Mueller-Stahl signed an open letter, protesting against East Germany's decision to exile singer-songwriter Wolf Biermann (1936-). Consequenly, Mueller-Stahl found himself blacklisted in East Germany. After a few years of being unable to find roles in his country, Mueller-Stahl migrated to West Germany.
In 1981, Mueller-Stahl played Von Bohm, the male lead in the romantic drama "Lola" (1981). The film depicted Von Bohm as a building commissioner who struggles against widespread corruption in the town of Coburg, while falling in love with brothel-employed singer Lola (played by Barbara Sukowa). Following the film's relative success, Mueller-Stahl found steady work in West German cinema throughout the 1980s.
Although he barely spoke English at this point of his life, Mueller-Stahl was cast as General Petya Samanov in the American television miniseries Amerika. The dystopian series depicted a version of the United States which was under Soviet military occupation, and in which Soviet general Samanov is the de facto ruler of the occupied country. "Amerika" was the second-highest rated miniseries of the 1986-87 U.S. television season.
Mueller-Stahl decided to to seek more acting roles in the United States, and made his American film debut in the crime drama "Music Box" (1989). He was cast in the role of Mike Laszlo, a Hungarian-American family man, who is exposed as a wanted war criminal who killed numerous civilians during the Siege of Budapest (1944-1945). The film won the "Golden Bear" at the 40th Berlin International Film Festival.
Mueller-Stahl next received the primary role of Polish-Jewish immigrant Sam Krichinsky in the family drama "Avalon" (1990). The film concerned the gradual assimilation of Krichinsky's family into modern American culture. The film was critically praised, and its screenwriter won the "Writers Guild of America Award for Best Original Screenplay".
In 1991, Mueller-Stahl played the role of Inspector Grubach in the mystery thriller "Kafka". The film depicted a conspiracy in 1910s Prague, and was loosely inspired by the works of Franz Kafka (1883-1924). The film under-performed at the box office, but gained a cult following.
During the same year, Mueller-Stahl played New York City-based taxi driver Helmut Grokenberger in the anthology film "Night on Earth". In the film, Helmut is an East German immigrant in the United States. He is a former professional clown, whose ineptness as a driver and ignorance of New York geography make him ill-suited for his new profession. The film was critically well-received.
In 1992, Mueller-Stahl played Meissen porcelain collector Baron Kaspar Joachim von Utz in the eponymous film "Utz". The film was an adaptation of a 1988 novel by Bruce Chatwin (1940-1989), concerning a passionate collector and his unwillingness to part with his collection, even at the offer of a better life abroad. For this role, Mueller-Stahl won the "Silver Bear for Best Actor" at the 42nd Berlin International Film Festival.
In 1996, Mueller-Stahl played Peter, the abusive father of concert pianist David Helfgott (1947-). The film concerns the negative effects of long-term physical and mental abuse of David by his father. Mueller-Stahl's role was critically praised, and he was nominated for the Academy Award for Best Supporting Actor. The award was instead won by rival actor Cuba Gooding Jr. (1968-).
In 1998, Mueller-Stahl played German scientist Conrad Strughold in the science fiction film "The X-Files", a spin-off of the then-popular television series "The X-Files" (1993-2002, 2016-2018). In the film, Strughold is a member of the Syndicate, a shadow government which collaborates with extraterrestrial would-be colonists. The film was a box-office hit, earning 189 million dollars at the worldwide box office.
In 2007, Mueller-Stahl played Semyon, a high-ranking member of the Russian mafia, in the gangster film "Eastern Promises". The film was critically praised, and appeared on many critics' top ten lists of the best films of 2007.Mueller-Stahl won the "Genie Award for Best Performance by an Actor in a Supporting Role".
In 2009, Mueller-Stah played former Stasi colonel Wilhelm Wexler in the action thriller "The International". In the film, Wexler works with a merchant bank that has secret ties to drug cartels, powerful corporations, corrupt governments, and terrorist organizations,. The film earned about 60 million dollars at the worldwide box office, and was considered notable for drawing inspiration from real-world banking scandals of the 1970s, 1980s, and 1990s.
Also in 2009, Mueller-Stahl portrayed Cardinal Strauss, Dean of the College of Cardinals and the Papal Conclave, in the mystery thriller "Angels & Demons". The film was an adaptation of a 2000 novel by Dan Brown (1964-). It concerns the assassination of fictional Pope Pius XVI, and a conspiracy trying to influence the election of his successor. The film earned about 486 million dollars at the worldwide box office, the highest-grossing film in Mueller-Stah's career.
In 2011, Mueller-Stahl received the "Honorary Golden Bear" at the 61st Berlin International Film Festival. His only film role in the 2010s was playing Fr. Zeitlinger in the experimental film "Knight of Cups ". The film uses images from tarot cards as a main theme, while elements of the plot were inspired by the "Hymn of the Pearl" (2nd century) and the "The Pilgrim's Progress" (1678) by John Bunyan.
By 2021, Mueller-Stahl was 90-years-old. He lives in semi-retirement in California, where he enjoys its pleasant climate. He has written a number of novels and short stories, and has taken painting as a hobby.786 points- Actor
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Erland Josephson, the distinguished Swedish actor best known for his appearance in Ingmar Bergman's films, was born in Stockholm, Sweden on June 15, 1923. Josephson's relationship with Bergman, a long-time friend, began in the late 1930s when they first worked together in the theater.
Although he was in several motion pictures in the late 1940s and early '50s, including a bit part in Bergman's "The Man With an Umbrella" (1946), Josephson confined himself to the stage during the first part of his career. After appearing in Bergman's "The Magician" (1958) in support of Max von Sydow, Josephson did not make another movie until the late '60s, when he was cast in Bergman's "Hour of the Wolf" (1968). He collaborated on two screenplays with Bergman (using the joint pseudonym of Buntel Eriksson), Alf Kjellin's "The Pleasure Garden" (1961) and Bergman's own "Now About These Women" (1964).
In 1966, Josepheson succeeded Bergman as creative director of the Royal Dramatic Theatre in Stockholm, a post he held until 1975. He also succeeded Max Von Sydow as Bergman's favorite male lead in the 1970s, which brought him global fame. After co-starring with Von Sydow and Liv Ullmann in "The Passion of Anna" (1969), he had major roles in "The Touch" (1971), "Cries and Whispers" (1972), "Scenes From a Marriage" (a television mini-series edited into a film in 1973), and "Face to Face" (1976).
François Truffaut, in his guise as a film critic, wrote in 1958: "Bergman's preeminent strength is the direction he gives his actors. He entrusts the principal roles in his films to the five or six actors he loves best, never type-casting them. They are completely different from one film to the next, often playing diametrically opposite roles." In Bergman's films of the 1970s, Erland Josephson engendered the neurotic, post-war 20th century man: aloof, introspective, and self-centered.
Josephson also appeared in Bergman's "Autumn Sonata" (1978), "Fanny and Alexander" (1982) and "After the Rehearsal" (1984). After starring in "Trolösa" (2000), a film directed by frequent co-star Liv Ullmann and scripted by Bergman, it was time for him to be reunited with Ullmann as an actress under the hand of the maestro himself with "Saraband" (2003).
Josephson did not appear in a non-Swedish film until 1977, when he starred as Friedrich Nietzsche in Italian director Liliana Cavani's "Beyond Good and Evil." He continued to work in international cinema in the 1980s and '90s, appearing in Franco Brusati's "To Forget Venice (1980), Dusan Makavejev's "Montenegro" (1981), Philip Kaufman's "The Unbearable Lightness of Being" (1988), István Szabó's "Hanussen" (1988), and Peter Greenaway's "Prospero's Books" (1991). His most memorable non-Bergman roles were in the films of Andrei Tarkovsky, "Nostalghia" (1983) and "The Sacrifice" (1986).
Behind the camera, Josephson co-directed "One and One", a 1978 full-length film, with fellow Bergman collaborators Ingrid Thulin and Sven Nykvist, and directed the full-length "Marmalade Revolution" (1980). Erland Josephson also is an accomplished writer: He has written screenplays for Swedish films, as well as dramas, novels, and poetry.785 points- Actor
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Josef Abrhám was born on 14 December 1939 in Zlín, Protectorate Bohemia and Moravia [now Czech Republic]. He was an actor, known for Valerie and Her Week of Wonders (1970), Leaving (2011) and Beauty in Trouble (2006). He was married to Libuse Safránková. He died on 16 May 2022 in Melnik, Bohemia, Czech Republic.769 points- Actor
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Petr Cepek was born on 16 September 1940 in Prague, Protectorate Bohemia and Moravia [now Czech Republic]. He was an actor, known for Faust (1994), I Killed Einstein, Gentlemen (1970) and The Three Veterans (1984). He was married to Ivana Cepková and Helena Rytírová. He died on 20 September 1994 in Vrchlabi, Czech Republic.769 points- Actor
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One of Italy's most captivating and talented cinematic comedy stars, Italian veteran Alberto Sordi was known for satirizing his country's social mores in pungent black comedies, farcical tales and grim drama. He, along with peers Vittorio Gassman, Ugo Tognazzi and Nino Manfredi, arguably represent the finest of post-war Italian cinema history. Born in Rome on June 15, 1920 in the Trastevere district, Sordi grew up in a musical family, his father being a tuba player for the Rome Opera House. A choir boy at the Sistine Chapel, he later trained for the theater in Milan but returned to Rome to work in radio and musical halls in comedy shows. In the late 30s he found his way into film as an extra. His first important role was in The Three Pilots (1942), a fascist war picture, but he wouldn't hit international stardom until a decade later when he starred in Federico Fellini's early films The White Sheik (1952) and I Vitelloni (1953). The titles of some of his most prolific characters were as simple as their titles: The Seducer, The Bachelor, The Husband, The Widower, The Traffic Cop, and The Moralist. Most of his protagonists amusingly, but not always pleasantly, stereotyped the worst attributes of Italian men and society, yet many of his films are unparalleled in quality and considered masterpieces. Sordi went on to star, direct and co-write more than 150 films. Never married and rather an introvert, he enjoyed a quiet, reclusive personal life. On his 80th birthday, he was made Mayor of Rome for the day. In 2002, after 190 films, he announced his retirement, and died of a heart attack the following year at age 82.768 points- Actor
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Joseph Cheshire Cotten, Jr. was born in Petersburg, Virginia, into a well-to-do Southern family. He was the eldest of three sons born to Sally Whitworth (Willson) and Joseph Cheshire Cotten, Sr., an assistant postmaster.
Jo (as he was known) and his brothers Whit and Sam spent their summers at their aunt and uncle's home at Virginia Beach. And there and at an early age he discovered a passion for story-telling, reciting, and performing acts for his family. Cotten studied acting at the Hickman School of Expression in Washington, D.C. and worked as an advertising agent afterward. But by 1924 tried to enter acting in New York. His money opportunities were limited to shipping clerk, and after a year of attempting stage work, he left with friends, heading for Miami. There he found a variety of jobs: lifeguard, salesman, a stint as entrepreneur -- making and selling 'Tip Top Potato Salad' - but more significantly, drama critic for the Miami Herald. That evidently led to appearance in plays at the Miami Civic Theater. Through a connection at the Miami Herald he managed to land an assistant stage manager job in New York. In 1929 he was engaged for a season at the Copley Theatre in Boston, and there he was able to expand his acting experience, appearing in 30 plays in a wide variety of parts. By 1930 he made his Broadway debut. In 1931 Cotten married Lenore LaMont (usually known as Kipp), a pianist, divorced with a four-year-old daughter.
To augment his income as an actor in the mid-30s, Cotten took on radio shows in addition to his theatre work. At one audition he met an ambitious, budding actor/writer/director/producer with a mission to make his name-Orson Welles. Cotten was 10 years his senior, but the two found a kindred spirit in one another. For Cotten, Welles association would completely redirect his serious acting life. Their early co-acting attempts boded ill for employment in formal acting vehicles. At a rehearsal for CBS radio the two destroyed a scene taking place on a rubber tree plantation. One or the other was supposed to say the line: "Barrels and barrels of pith...." They could not overcome uncontrolled laughter at each attempt. The director berated them as acting like 'school-children' and 'unprofessional', and thereafter both were considered unreliable. Welles's ambition put that quickly behind them when he formed The Mercury Theatre Players. Coming on board were later Hollywood stalwarts: Everett Sloane, Agnes Moorehead, Ruth Warrick, and Ray Collins. In 1937, Cotten starred in Welles's Mercury productions of "Julius Caesar" and "Shoemaker's Holiday". And he made his film debut in the Welles-directed short Too Much Johnson (1938), a comedy based on William Gillette's 1890 play. The short was occasionally screened before or after Mercury productions, but never received an official release. Cotten returned to Broadway in 1939, starring as C.K. Dexter Haven in the original production of Philip Barry's "The Philadelphia Story". The uproar over Welles's "War of the Worlds" radio broadcast, was rewarded with an impressive contract from RKO Pictures. The two-picture deal promised full creative control for the young director, and Welles brought his Mercury players on-board in feature roles in what he chose to bring to the screen. But after a year, nothing had germinated until Welles met with writer Herman J. Mankiewicz, resulting in the Citizen Kane (1941) idea - early 1940. The story of a slightly veiled William Randolph Hearst with Welles as Kane and Cotten, in his Hollywood debut, as his college friend turned confidant and theater critic, Jed Leland, would become film history, but at the time it caused little more than a ripple. Hearst owned the majority of the country's press outlets and so forbade advertisements for the film. The film was nominated for nine Academy Awards in 1942 but was largely ignored by the Academy, only winning for Best Screenplay for Welles and Mankiewicz.
The following year Cotten and Welles collaborated again in The Magnificent Ambersons (1942), acclaimed but again ignored at Oscar time, and the next year's Nazi thriller Journey Into Fear (1943). Cotten, along with some Welles ideas, wrote the screenplay. Welles with his notorious overrunning of budgeting was duly dropped by RKO thereafter. Later in 1943 Cotten's exposure and acquaintance with young producer David O. Selznick resulted in a movie contract and the launching of his mainstream and very successful movie career as a romantic leading man. Thereafter he appeared with some of the most leading of Hollywood leading ladies - a favorite being Jennifer Jones, Selznick's wife with the two of them being his most intimate friends. Cotten got the opportunity to play a good range of roles through the 1940s - the darkest being the blue beard-like killer in Alfred Hitchcock thriller Shadow of a Doubt (1943) with Teresa Wright. Perhaps the most fun was The Farmer's Daughter (1947) with a vivacious Loretta Young. Cotten starred with Jennifer Jones in four films: the wartime domestic drama Since You Went Away (1944), the romantic drama Love Letters (1945), the western Duel in the Sun (1946), and later in the critically acclaimed Portrait of Jennie (1948), from the haunting Robert Nathan book. Cotten is thoroughly convincing as a second-rate, unmotivated artist who finds inspiration from a chance acquaintance budding into love with an incarnation of a girl who died years before. Welles and Cotten did not work again until The Third Man (1949), directed by Carol Reed. For Cotten, the role as the hapless boyhood friend and second-rate novel writer Holly Martins would be a defining moment in a part both comedic and bittersweet, its range making it one of his best performances. Unfortunately, he was again overlooked for an Oscar.
Cotten was kept in relative demand into his mature acting years. Into the 1950s, he reunited with "Shadow Of A Doubt" co star Thereas Wright, to do the memorable bank caper "The Steel Trap"(1952).He co stared with Jean Peters in "Blueprint For A Murder"(1953). For the most part, the movie roles were becoming more B than A. He had a brief role as a member of the Roman Senate, reuniting with lifelong friend Welles in his Othello (1951). There were a few film-noir outings along with the usual fare of the older actor with fewer roles. However, he was much more successful in returning to theater roles in the new television playhouse format. He also did some episodic TV and some series ventures, as with On Trial, which was later called The Joseph Cotten Show. He had a memorable role in an Alfred Hitchcock Presents, "Breakdown", where he was a man in a lone and isolated car accident, trapped and unable to speak. He voices over and shows his great acting skill simply through facial expressions. His one last stint with Welles was uncredited and sort of Jed Leland-revisited as the hokey coroner early in Welles's over-the-top Touch of Evil (1958). Of his association with Welles, Cotten said: "Exasperating, yes. Sometimes eruptive, unreasonable, ferocious, yes. Eloquent, penetrating, exciting, and always - never failingly even at the sacrifice of accuracy and at times his own vanity - witty. Never, never, never dull."
With the passing of his first wife in 1960 Cotten met and married British actress Patricia Medina. The 1960s found him equally busy in TV and film. He made the circuit of the most popular detective and cowboy series of the period. By 1964 he returned to film with the money making old-Hollywood-dame- horror-movie genre hit Hush...Hush, Sweet Charlotte (1964) with other vintage Hollywood legends Bette Davis, Olivia de Havilland, and Agnes Moorehead. His other films of that decade were of the quick entertainment variety along with some foreign productions, and TV movies. There were also more TV series and guests appearances, especially The Ed Sullivan Show, a popular stop during its long run. In the 1970s Cotten was still in demand-for even more of the curiosity-appeal of the populace for an older star. Along with the new assortment of TV series, he anchored himself at Universal with small parts in forgettable movies, the sluggish Universal epic dud Tora! Tora! Tora! for instance, and the steady diet of TV series being cranked out there. Though older actors have laughed in public about their descent into cheap horror movies, one can only wonder at the impetus to do them -- by such greats, as Claude Rains -- besides a can't-pass-up alluring salary.
Cotten did the campy The Abominable Dr. Phibes (1971) with Vincent Price and about that time two second rate Italian horror outings where he was Baron Blood and Baron Frankenstein. Then again there was better exposure in the Universal minor sci-fi classic Soylent Green (1973). And in yet another Universal sequel, where the profit-logic was to gather a cast of veterans from the Hollywood spectrum in any situation spelling disaster and watch the ticket sales skyrocket, Cotten joined the all-star cast of Airport '77 (1977). He rounded out the decade with the ever faddish Fantasy Island and more Universal TV rounds. This contributor met and worked with Joseph Cotten during this latter evolution of one of Hollywood's greats. He wore his own double-breasted blue blazer and tan slacks in several roles - no need for wardrobe. His pride and joy was a blue 1939 Jaguar SS, something of a fixture on the Universal lot.
Cotten was not ready to turn his back on Hollywood until the beginning of the 1980s when he managed to appear in the epic flop Heaven's Gate (1980). After a Love Boat episode (1981), Cotten joined his wife and his love of gardening and entertaining friends in retirement. He also had the time to write an engaging autobiography Vanity Will Get You Somewhere (1987). Cotten's somewhat matter-of-fact and seemingly gruff acting voice served him well. Certainly his command of varied roles deserved more than the snub of never being nominated for an Academy Award. He was not the only actor to suffer being underrated, but that is largely forgotten in those memorable roles that speak for him. And for what it is worth, the Europeans had the very good sense to award him the Venice Film Festival Award for Best Actor for Portrait of Jennie, one of his favorite roles.768 points- Actor
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What an amazing career! Few can boast a longer one (64 years of activity). Few have been able to have to relate to three generations. And it is pretty sure that no one can compare with him in terms of faithfulness to a director: Chishu Ryu indeed appeared in no fewer than fifty-two out of fifty-four of his master Yasujirô Ozu. He played in 187 films or TV films and could be a very versatile actor: for instance in 1936, when he was thirty, he embodied a student in one film and an old man in another. However he was perfect in Ozu's films, most often, as a simple, unobtrusive man whose humanity is revealed through the hardships of everyday life. How could Japanese cinema have done without Chishu Ryu?763 points- Actor
- Writer
Olgierd Lukaszewicz is a Polish actor known for his work in theater, television, and movies. He graduated from the National Academy of Theatre Arts in Krakow in 1968. After graduation, he performed at The Bagatela Theatre in Krakow. He later moved to Warsaw, where he was associated with the Dramatyczny Theatre, Powszechny Theatre, and Studio Theatre in Warsaw. He also served as the President of the Polish Union of Stage Actors. In terms of his movie career, he made his debut in the movie Dancing w kwaterze Hitlera (1968). He gained popularity for role as Albert in the Sexmission (1984).763 points- Actor
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Jan Englert was born on 11 May 1943 in Warsaw, Mazowieckie, Poland. He is an actor and director, known for Lalka (1978), Kiler (1997) and Television Theater (1953). He has been married to Beata Scibakówna since 1998. They have one child. He was previously married to Barbara Soltysik.763 points- Franciszek Pieczka was born on 18 January 1928 in Godów, Slaskie, Poland. He was an actor, known for The Scar (1976), Zywot Mateusza (1968) and Jancio Wodnik (1993). He was married to Henryka. He died on 23 September 2022 in Poland.763 points
- Actor
- Additional Crew
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Signifying intelligence, eloquence, versatility and quiet intensity, one of the more important, critically acclaimed black actors to gain a Hollywood foothold in the 1970s was Paul Winfield. He was born in 1939 in Dallas, Texas, where he lived in his early years before moving with his family to Los Angeles' Watts district. He showed early promise as a student at Manual Arts High School, earning distinction with several performance awards. As a senior, he earned his first professional acting job and extended his theatrical education with a two-year scholarship to the University of Portland in Oregon. Subsequent scholarships led to his studies at Stanford and Los Angeles City College, among other colleges. He left U.C.L.A. just six credits short of his Bachelor's degree.
Paul's first big break came in 1964 when actor/director Burgess Meredith gave him a role in Le Roi Jones' controversial one-act play "The Dutchman and the Toilet". Director Meredith cast him again four years in "The Latent Heterosexual" with Zero Mostel. Although he won a contract at Columbia Pictures in 1966 and built up his on-camera career with a succession of television credits, he continued to focus on the legitimate stage. A member of the Stanford Repertory Theatre, he concentrated on both classic and contemporary plays. In 1969, Paul joined the Inner City Cultural Center Theatre in Los Angeles for two years, which offered a drama program for high school students.
In the late 1960s, Paul redirected himself back to performing on television and in films with guest work in more than 40 series on the small screen, including a boyfriend role on the first season of the landmark black sitcom Julia (1968) starring Diahann Carroll. In films, he was given a featured role in the Sidney Poitier film The Lost Man (1969), and earned comparable roles in R.P.M. (1970) and Brother John (1971) before major stardom occurred.
1972 proved to be a banner year for Paul after winning the male lead opposite Cicely Tyson in the touching classic film Sounder (1972). His towering performance as a sharecropper who is imprisoned and tortured for stealing a ham for his impoverished family earned him an Oscar nomination for "Best Actor" -- the third black actor (Sidney Poitier and James Earl Jones preceded him) to receive such an honor at the time.
From there a host of films and quality television roles began arriving on his doorstep. In mini-movies, Paul portrayed various historical/entertainment giants including Thurgood Marshall, Don King and baseball's Roy Campanella, and was Emmy-nominated for his portrayal of Martin Luther King, Jr. in King (1978) with Sounder co-star Cicely Tyson as wife Coretta. Throughout the 1970s and 1980s, he earned solid distinction in such prestige projects as Backstairs at the White House (1979), Roots: The Next Generations (1979) (another Emmy nomination), The Sophisticated Gents (1981), The Blue and the Gray (1982), Sister, Sister (1982), James Baldwin's Go Tell It on the Mountain (1985), Under Siege (1986) and The Women of Brewster Place (1989).
Although the big screen did not offer the same consistent quality following his breakthrough with Sounder, he nevertheless turned in strong roles in Conrack (1974), Huckleberry Finn (1974), A Hero Ain't Nothin' But a Sandwich (1977) (again with Ms. Tyson), Damnation Alley (1977), Star Trek II: The Wrath of Khan (1982) and White Dog (1982).
Surprisingly, Paul never achieved the promise of a Sidney Poitier-like stardom and his roles diminished in size. Relegated to character roles, he still appeared in such quality television as Breathing Lessons (1994), although he was not the major focus. After two nominations, he finally won the Emmy for a guest performance as a judge on Picket Fences (1992). Paul's showier work at this period of time included the film Catfish in Black Bean Sauce (1999) and a surprise cross-dressing cameo as Aunt Matilda in Relax... It's Just Sex (1998).
On stage, Paul graced such productions as "Richard III" (at New York's Lincoln Center Theatre), "Othello", "The Merry Wives of Windsor", "The Seagull", "A Few Good Men", "Happy Endings" and "Checkmates", which became his sole Broadway credit. Paul also served as Artist in Residence at the University of Hawaii and subsequently at the University of California at Santa Barbara.
In his final years, Winfield narrated the A&E crime series City Confidential (1998), appeared as a teacher in a television adaptation of his earlier success Sounder (2003), and enjoyed a recurring role as Sam for many years on the series Touched by an Angel (1994).
Suffering from obesity and diabetes in later life, Paul Winfield passed away from a heart attack at age 64 in 2004, and was survived by a sister, Patricia. His longtime companion of 30 years, set designer and architect Charles Gillan Jr. predeceased him by two years.763 points- Actor
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O.E. Hasse was born on 11 July 1903 in Obersitzko, Prussia, Germany [now Obrzycko, Wielkopolskie, Poland]. He was an actor and writer, known for I Confess (1953), Deadly Decision (1954) and The Adventures of Arsène Lupin (1957). He died on 11 September 1978 in West Berlin, West Germany.763 points- Actor
- Producer
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Jack Lemmon was born in Newton, Massachusetts, to Mildred Lankford Noel and John Uhler Lemmon, Jr., the president of a doughnut company. His ancestry included Irish (from his paternal grandmother) and English. Jack attended Ward Elementary near his Newton, MA home. At age 9 he was sent to Rivers Country Day School, then located in nearby Brookline. After RCDS, he went to high school at Phillips Andover Academy. Jack was a member of the Harvard class of 1947, where he was in Navy ROTC and the Dramatic Club. After service as a Navy ensign, he worked in a beer hall (playing piano), on radio, off Broadway, TV and Broadway. His movie debut was with Judy Holliday in It Should Happen to You (1954). He won Best Supporting Actor as Ensign Pulver in Mister Roberts (1955). He received nominations in comedy (Some Like It Hot (1959), The Apartment (1960)) and drama (Days of Wine and Roses (1962), The China Syndrome (1979), Tribute (1980) and Missing (1982)). He won the Best Actor Oscar for Save the Tiger (1973) and the Cannes Best Actor award for "Syndrome" and "Missing". He made his debut as a director with Kotch (1971) and in 1985 on Broadway in "Long Day's Journey into Night". In 1988 he received the Life Achievement Award of the American Film Institute.762 points- Dark, mustachioed and broodingly handsome in an Oliver Reed placid manner, Jon Finch was born in Caterham, Surrey, England, on March 2, 1942, the son of a merchant banker. Educated at Caterham School, his first stage role was in elementary school at age 13 playing a Roman noblewoman(!) After gaining experience in amateur theatre groups and following a short stint with a folk singing group, he suddenly left for military service at age 18, serving with a parachute regiment.
Following military duty, Jon returned to acting and delved seriously into classical theatre with several different Shakespeare/repertory companies, appearing in over 50-60 plays, including "Night of the Iguana" and "She Stoops to Conquer," while also serving as stage manager and/or assistant director for several of these companies.
Jon made his on-camera debut on TV in 1964 with guest parts on such British series as the daytime soap "Crossroads," "The Fellows," "Tom Grattan's War," "Z Cars" and the part of Sir Edward Mortimer in the BBC-TV play "Mary, Queen of Scots." This culminated in a leading role in the sci-fi British series Counterstrike (1969). A few years later he broke into films with supporting roles in the Hammer Studio horror classics The Vampire Lovers (1970) and The Horror of Frankenstein (1970). This was a rather intense, dramatic sign as to the direction his cinematic career would take.
Jon's gloomy, Gothic-edged film career peaked in the early 70s with such classy fare as Roman Polanski's Macbeth (1971), in which he played the tormented title role, in a particularly gory and controversial presentation; as cuckold husband William Lamb in the historical romancer Lady Caroline Lamb (1972) opposite Sarah Miles; in Alfred Hitchcock's macabre serial-killer thriller Frenzy (1972), in which he is a suspect in the dastardly crimes; in The Final Programme (1973), an end-of-the-world sci-fi adventure that has since earned cult status; and in the all-star production of Death on the Nile (1978), an elegant whodunnit, courtesy of Agatha Christie. More importantly, he took part in several Shakespearean pieces that were transferred to TV -- Richard II (1978), Henry IV Part I (1979), Henry IV Part II (1979) and Much Ado About Nothing (1984). He also took on another TV series Ben Hall (1975) as the title Australian bushranger
After filming the Spanish historical drama The Second Power (1976) written and directed by José María Forqué and the Swedish/Spanish co-production of La Sabina (1979) written by the notorious filmmaker José Luis Borau, the upcoming 1980's decade would promise more erratic and erotic filming in international drama. Another Spanish-made co-starring role came his way with Gary Cooper, que estás en los cielos (1980) (Gary Cooper, Who Art in Heaven) written and directed by Pilar Miró, followed by the German drama Doktor Faustus (1982); a brief return to English soil to co-star with Glenda Jackson in the political drama Giro City (1982); a pair of German psychological dramas Plaza Real (1988) and The Voice (1988); the Israeli political thriller Streets of Yesterday (1989); and the steamy Italian film La più bella del reame (1989) (Most Beautiful in the Kingdom) opposite sensuous American model-turned-European film actress Carol Alt.
A gentleman with infinite class, intelligence and charm, Jon's pronounced aversion to publicity and preference for privacy kept him from achieving major stardom. Finch turned more and more to British TV work as the years wore on. He appeared as an apparition of Christ in three episodes of the sci-fi mini-series The Martian Chronicles (1980); portrayed the apostle Luke in the biblical drama Peter and Paul (1981); played Uncle Tom in the small screen version of D.H. Lawrence's The Rainbow (1988); appeared as the antagonist King Vortigern in the King Arthur story Merlin of the Crystal Cave (1991); played Count Sylvius in the mini-series The Memoirs of Sherlock Holmes (1994); and headed up the cast in the TV-movie murder mystery Bloodlines: Legacy of a Lord (1998). On film, he starred in the horror opus Lurking Fear (1994), filmed in Romania, and co-starred in the Philippine-made horror Darklands (1996). Jon made his last large screen appearance in the Orlando Bloom adventure about the Crusades, Kingdom of Heaven (2005).
Finch was interested in race car driving in the early 1970's but could not obtain a race car license after being diagnosed with diabetes. He was briefly married (1980-1987) to actress Catriona MacColl and they had one child. They co-starred together in the Spanish-made film drama Power Game (1983). He died on December 28, 2012 at age 70 in Sussex, England.759 points - John Barry Foster's acting career began and ended on the stage. At the age of 20 he won a scholarship to the Central School of Speech and Drama where he befriended future playwright Harold Pinter. After two years training, Barry went on tour with Andrew McMaster and fellow actors Patrick Magee and Kenneth Haigh through the Republic of Ireland. Their repertoire included thirteen plays (mostly Shakespearean but also included J.B. Priestley's 'An Inspector Calls'). Barry's first role was as Lorenzo in 'The Merchant of Venice'.
In 1955, he hit the lights of London with 'The Night of the Ball' at the New Theatre and six years later had his first starring role as Cornelius Christian in 'Fairy Tales of New York'. During the remainder of the decade, Barry played through an immensely varied array of characters ranging from Adhemar in the French comedy 'Let's Get a Divorce' to King John and Macbeth at the Nottingham Playhouse. He appeared with Dame Wendy Hiller in 'Driving Miss Daisy' and with Lotte Lenya in 'Brecht on Brecht' at The Royal Court. His portfolio also included two Pinter plays, 'The Basement' and 'The Tea Party'. In 1963, he also acted on Broadway, San Francisco and Los Angeles in a double bill: 'The Private Ear' and 'The Public Eye' by Peter Shaffer. Time Magazine (October 18,1963) described his performance as Cristoforou as "a remarkable and indefinable creation" and "the most antic and mythic embodiment of Life Force since Zorba the Greek danced off the pages of Nikos Kazantzakis novel".
While he had appeared in film roles since the mid-1950's, it was on the small screen where Barry Foster had his greatest success, specifically as the trench-coated Dutch detective Van der Valk (1972). Introduced by the catchy theme song 'Eye Level' (a British chart topper in 1973), this 1970s TV series was filmed on location in Amsterdam and featured a rather off-beat type of detective: introspective, often rash and moody, at times anti-establishmentarian, yet with great compassion, wit and intelligence. Barry Foster himself remarked about the popular Van der Valk: "He is understanding and does not disapprove. That isn't his job, anyway. He's a lovely guy to play, a thoughtful, unorthodox cop with a touch of the private eye" (The Independent, 13/2/2002).
Other notable television roles followed. Among the best of them was as Kaiser Wilhelm in BBC's excellent miniseries Fall of Eagles (1974). He was again perfectly cast as eccentric spook Saul Enderby, one of Smiley's People (1982), played with typical aplomb and dry humour. In 1978, Barry lent his voice to an impersonation of the great detective Sherlock Holmes in a 13-part BBC radio series. In films, Barry will be best remembered as the serial killing grocer Bob Rusk in Hitchcock's thriller Frenzy (1972). From the 1980s, Barry Foster concentrated once again on the theatre. In 1995, he toured Australia with Priestley's 'An Inspector Calls' (playing the part of Inspector Goole), directed by Stephen Daldry. Five years later, he starred as Prospero in 'The Tempest' and, just prior to his untimely death, appeared with Nigel Havers and Roger Lloyd Pack in the play 'Art' at the London Whitehall theatre. Barry Foster was a singularly accomplished and likeable actor who once explained his versatility thus: "I'm neither very tall nor very short. You can't look at my face and say 'he's the killer', or 'the guy next door' or 'the mad scientist'. All I've got is my curly hair - which everyone thinks is a wig anyway" (The Telegraph, 12/2/2002).759 points - Actor
- Additional Crew
Giulio Brogi was born on 13 May 1931 in Verona, Veneto, Italy. He was an actor, known for The Spider's Stratagem (1970), St. Michael Had a Rooster (1972) and The Seagull (1977). He died on 19 February 2019 in Negrar, Veneto, Italy.755 points- Daniele Dublino was born on 28 May 1936 in Vigevano, Lombardy, Italy. He was an actor, known for Long Live Robin Hood (1971), Acts of the Apostles (1969) and The Big Racket (1976). He died on 1 April 1992 in Rome, Italy.755 points
- Actor
- Producer
- Writer
Jon Voight is an American actor of German and Slovak descent. He has won the Academy Award for Best Actor in a Leading Role for his role as paraplegic Vietnam War veteran Luke Martin in the war film "Coming Home" (1978). He has also been nominated for the same award other two times. He was first nominated for his role as aspiring gigolo Joe Buck in "Midnight Cowboy" (1969), He was last nominated for the award for his role as escaped convict Oscar "Manny" Manheim in "Runaway Train" (1985). He was also nominated for the Academy Award for Best Actor in a Supporting Role, for his role as sports journalist Howard Cosell (1918-1995) in "Ali" (2001).
In 1938, Voight was born in Yonkers, New York. His parents were professional golfer Elmer Samuel Voight (original name Elemír Vojtka) and his wife Barbara Agnes (Kamp). His paternal grandfather was a Slovak immigrant, as were the parents of his paternal grandmother. His maternal grandfather was a German immigrant, as were the parents of his maternal grandmother. His maternal great-uncle was political activist Joseph P. Kamp (1900-1993), a leader of the anti-communist organization "Constitutional Educational League".
Voight has two siblings: volcanologist Barry Voight (1937-) and singer-songwriter James Wesley Voight (pseudonym Chip Taylor, 1940-). Barry is most famous for first predicting and then investigating the eruption of Mount St. Helens (1980). James is most famous for writing the hit songs "Wild Thing" (1965) and "Angel of the Morning" (1967).
Voight was educated at Archbishop Stepinac High School, an all-boys Roman Catholic high school located at White Plains, New York. At the time, the school was operated by the Roman Catholic Archdiocese of New York. He took an interest in acting in his high school years, performing a comedic role in the school's annual musical, "The Song of Norway". He graduated in 1956, at the age of 18.
Voight continued his education at The Catholic University of America, located in Washington, D.C.. He majored in art, and graduated in 1960. He was 22-years-old at the time of graduation. He then moved to New York City, having decided to pursue an acting career.
In the early 1960s, Voight primarily worked as a television actor. He guest starred in episodes of then-popular television series, such as "Naked City", "The Defenders", "NET Playhouse", "12 O'Clock High", and "Gunsmoke". His first notable theatrical role was playing the illegal immigrant Rodolfo in a 1965 Off-Broadway production of the play "A View from the Bridge" (1955) by Arthur Miller (1915-2005). In the play, Rodolfo is the love interest of the American girl Catherine, and disliked by her uncle and guardian Eddie Carbone (who is in love with his niece).
Voight made his film debut in the superhero comedy "Fearless Frank" (1967), playing the role of the eponymous superhero. Frank was depicted as a murder victim who gets resurrected and granted superpowers by a scientist. Voiight's second film role was playing historical gunman and outlaw Curly Bill Brocius (1845-1882) in the Western film "Hour of the Gun" (1967). The historical Brocius was an an enemy of the Esrp family, and was killed by Wyatt Earp (1848-1929).
Voigh't third film appearance was "Midnight Cowboy" (1969), his first great success. He played the role of a naive hustler from Texas who tries to become a gigolo in New York City. The film was critically acclaimed, and became the only X-rated feature to win Best Picture at the Academy Awards. Voight was nominated for the Academy Award for Best Actor, but the award was instead won by rival actor John Wayne (1907-1979).
Voight's first role in the 1970s was playing lieutenant Milo Minderbinder in the black comedy "Catch-22" (1970). The film was based on a 1961 satirical novel by Joseph Heller (1923-1999), and offered a satirical view on war and bureaucracy. Voight's next role was playing the left-wing student A in the political drama "The Revolutionary" (1970).
Voight found further critical acclaim with the thriller film "Deliverance" (1972), playing Atlanta businessman Ed Gentry. In the film, Gentry and his first are targeted by villainous mountain men in the northern Georgia wilderness. The film earned about 46 million dollars at the domestic box office, and was nominated for the Academy Award for Best Picture.
His subsequent roles included idealistic schoolteacher Pat Conroy in "Conrack" (1974), journalist Peter Miller in "The Odessa File" (1974). His next great success was playing paraplegic war veteran Luke Martin in "Coming Home" (1978), in a role inspired by the life of war veteran and anti-war activist Ron Kovic (1976-). He won the Academy Award for Best Actor for this film. His co-star Jane Fonda (1937-) won her second Academy Award for Best Actress for her role in this film.
Voight's early 1980s roles included conman Alex Kovac in "Lookin' to Get Out" (1982) and widowed father J. P. Tannen in "Table for Five" (1983). His next big success was the role of escaped convict Oscar "Manny" Manheim in "Runaway Train" (1985). He was again nominated for the Academy Award for Best Actor, but the Award was instead won by rival actor William Hurt (1950-).
Voight's next role was that of Jack Chismore in the drama film "Desert Bloom" (1986). Chismore is depicted as a war veteran suffering from post-traumatic stress disorder (PTSD), who is trying to raise three stepdaughters. He frequently abuses his stepdaughter Rose Chismore (played by Annabeth Gish), but is genuinely concerned for her safety when Rose runs away from home. This film was Voigh's last film role for several years, as he took a hiatus from acting.
Voight returned to acting with the drama film "Eternity" (1990), where he was also the screenwriter. The film deals with reincarnation, as a medieval war within brothers continues in modern American politics. Following his return to acting, Voight started appearing frequently in television films and miniseries. He also guest-starred in a 1994 episode of "Seinfeld", playing himself.
Voight returned to film acting with the crime drama "Heat" (1995), where he had a minor role as a fence. He had a more substantial role in the spy film "Mission: Impossible" (1996), where he played spymaster James Phelps. The film was an adaptation of the popular television series "Mission: Impossible" (1966-1973), about the adventures of a group of secret agents. The role of James Phelps was previously played by actor Peter Graves (1926-2010). The film was a great commercial success, earning about 458 million dollars at the worldwide box office.
Voight appeared in six different films in 1997, one of the busiest years of his career. The most notable among them was the horror film "Anaconda" (1997), where he played obsessive hunter Paul Serone, the film's main antagonist. The film won about 137 million dollars at the box office, despite a mostly negative critical reception. For this role, Voight was nominated for the Golden Raspberry Award for Worst Actor. He lost the award to rival actor Kevin Costner (1955-).
His next notable role was that Thomas Brian Reynolds, agent of the National Security Agency (NSA) in the action thriller "Enemy of the State" (1998). In the film, the NSA conspires to expand the surveillance powers of intelligence agencies over individuals and groups, at the cost of American citizens' right to privacy. The film was another box office success in Voight's career, earning about 251 million dollars at the box office.
In the same year, Voight played inspector Ned Kenny in the crime film "The General" (1998). The film was loosely based on the career of Irish crime boss Martin Cahill (1949-1994), who was nicknamed "the General". The film was critically acclaimed and director John Boorman won the Cannes Film Festival Award for Best Director.
Voight's next notable role was that of domineering coach Bud Kilmer in the sports film "Varsity Blues" (1999). The film dealt with the difficulties in the life of the players of a Texas-based high school football team, and was not expected to attract much attention by audiences. It earned about 54 million dollars at the box office, making it a modest box office hit. It is credited with introducing Voight to a next generation of fans.
Voight's final film in the 1990s was "A Dog of Flanders" (1999), based on a 1872 novel by Ouida (1839-1908). He played the role of artist Michel La Grande, the mentor of Nello (played by Jeremy James Kissner), who is eventually revealed to be Nello's biological father. The film failed at the box office, failing to earn as much as its modest budget.
Voight appeared in no film released in 2000, but had a busy year in 2001. He appeared in several box office hits of the year. He played President of the United States Franklin Delano Roosevelt (1882-1945, term 1933-1945) in the war drama "Pearl Harbor", Lara Croft's father Lord Richard Croft in the action film "Lara Croft: Tomb Raider", coal-miner and working class father Larry Zoolander in action comedy "Zoolander", and sports journalist Howard Cosell in the biographical film "Ali". For his role in "Ali", Voight was nominated for the Academy Award for Best Supporting Actor. The award was instead won by rival actor Jim Broadbent (1949-). It was Voight's fourth and (so far) last nomination for an Academy Award.
Voight had a notable role playing Pope John Paul II (1920-2005, term 1978-2005) in the miniseries "Pope John Paul II" (2005). He was nominated for the Primetime Emmy Award for Outstanding Lead Actor in a Limited Series or Movie, but the award was instead won by rival actor Andre Braugher (1962-).
Voight had a supporting role as John Keller, United States Secretary of Defense in the science fiction film "Transformers" (2007). The film was based on the Transformers toy line by Hasbro.It earned about 710 million dollars at the box office, one of the most commercially successful films in Voight's career.
In 2009, Voight had a notable television role, playing Jonas Hodges, the CEO of a Virginia-based private military company in the then-popular television series "24" (2001-2010, 2014). He was a main antagonist in the seventh season of the series. His role was inspired by the careers of Hessian colonel Johann Rall (c. 1726-1776), German industrialist Alfried Krupp von Bohlen und Halbach (1907-1967), and private military company CEO Erik Prince (1969-).
His 2010s notable film roles include the role of Dracula's enemy Loonardo Van Helsing in the horror film "Dracula: The Dark Prince" (2013), football coach Paul William "Bear" Bryant (1913-1983) in the sports drama "Woodlawn" (2015), and newspaper owner Henry Shaw Sr. in "Fantastic Beasts and Where to Find Them" (2016). "Fantastic Beasts" earned about 814 million dollars at the worldwide box office, being one of the most commercially successful films that Voight ever appeared in.
In 2020, was 82-years-old, and he is still working as an actor.749 points- Actor
- Director
- Producer
Enduring, strong-featured, and genial star of US cinema, Burt Reynolds started off in T.V. westerns in the 1960s and then carved his name into 1970s/1980s popular culture, as a sex symbol (posing nearly naked for "Cosmopolitan" magazine), and on-screen as both a rugged action figure and then as a wisecracking, Southern type of "good ol' boy."
Burton Leon Reynolds was born in Lansing, Michigan. He was the son of Harriette Fernette "Fern" (Miller) and Burton Milo Reynolds, who was in the army. After World War II, his family moved to Riviera Beach, Florida, where his father was chief of police, and where Burt excelled as an athlete and played with Florida State University. He became an All Star Southern Conference halfback (and was earmarked by the Baltimore Colts) before a knee injury and a car accident ended his football career. Midway through college he dropped out and headed to New York with aspirations of becoming an actor. There he worked in restaurants and clubs while pulling the odd TV spot or theatre role.
He was spotted in a New York City production of "Mister Roberts," signed to a TV contract, and eventually had recurring roles in such shows as Gunsmoke (1955), Riverboat (1959) and his own series, Hawk (1966).
Reynolds continued to appear in undemanding western roles, often playing a character of half Native American descent, in films such as Navajo Joe (1966), 100 Rifles (1969) and Sam Whiskey (1969). However, it was his tough-guy performance as macho Lewis Medlock in the John Boorman backwoods nightmare Deliverance (1972) that really stamped him as a bona-fide star. Reynolds' popularity continued to soar with his appearance as a no-nonsense private investigator in Shamus (1973) and in the Woody Allen comedy Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972). Building further on his image as a Southern boy who outsmarts the local lawmen, Reynolds packed fans into theaters to see him in White Lightning (1973), The Longest Yard (1974), W.W. and the Dixie Dancekings (1975) and Gator (1976).
At this time, ex-stuntman and longtime Reynolds buddy Hal Needham came to him with a "road film" script. It turned out to be the incredibly popular Smokey and the Bandit (1977) with Sally Field and Jerry Reed, which took in over $100 million at the box office. That film's success was followed by Smokey and the Bandit II (1980) and Smokey and the Bandit Part 3 (1983). Reynolds also appeared alongside Kris Kristofferson in the hit football film Semi-Tough (1977), with friend Dom DeLuise in the black comedy The End (1978) (which Reynolds directed), in the stunt-laden buddy film Hooper (1978) and then in the self-indulgent, star-packed road race flick The Cannonball Run (1981).
The early 1980s started off well with a strong performance in the violent police film Sharky's Machine (1981), which he also directed, and he starred with Dolly Parton in The Best Little Whorehouse in Texas (1982) and with fellow macho superstar Clint Eastwood in the coolly received City Heat (1984). However, other projects such as Stroker Ace (1983), Stick (1985) and Paternity (1981) failed to catch fire with fans and Reynolds quickly found himself falling out of popularity with movie audiences. In the late 1980s he appeared in only a handful of films, mostly below average, before television came to the rescue and he shone again in two very popular TV shows, B.L. Stryker (1989) and Evening Shade (1990), for which he won an Emmy. In 1988, Burt and his then-wife, actress Loni Anderson, had a son, Quinton A. Reynolds (aka Quinton Anderson Reynolds), whom they adopted.
He was back on screen, but still the roles weren't grabbing the public's attention, until his terrific performance as a drunken politician in the otherwise woeful Striptease (1996) and then another tremendous showing as a charming, porn director in Boogie Nights (1997), which scored him a Best Supporting Actor nomination. Like the phoenix from the ashes, Reynolds resurrected his popularity and, in the process, gathered a new generation of young fans, many of whom had been unfamiliar with his 1970s film roles. He then put in entertaining work in Pups (1999), Mystery, Alaska (1999), Driven (2001) and Time of the Wolf (2002). Definitely one of Hollywood's most resilient stars, Reynolds continually surprised all with his ability to weather both personal and career hurdles and his almost 60 years in front of the cameras were testament to his staying ability, his acting talent and his appeal to film audiences.
Burt Reynolds died of cardiac arrest on September 6, 2018, in Jupiter, Florida, U.S. He was eighty two.749 points- Actor
- Soundtrack
Stocky, genial-looking supporting actor Ned Beatty was once hailed by Daily Variety as the "busiest actor in Hollywood."
Ned Thomas Beatty was born in Louisville, Kentucky, to Margaret (Fortney) and Charles William Beatty. He grew up fishing and working on farms. His hometown of St. Matthews, Kentucky, is hardly the environment to encourage a career in the entertainment industry, though, so when asked, "How did you get into show business?" Beatty responded, "By hanging out with the wrong crowd." That "crowd" includes some of the industry's most prominent names, such as John Huston, Steven Spielberg, Robert Altman, Paul Newman, Richard Burton, Charlton Heston, Marlon Brando and Robert Redford.
Beatty garnered praise from both critics and peers as a dedicated actor's actor. He started as a professional performer at age ten, when he earned pocket money singing in gospel quartets and a barber shop. The big city and bright lights did not come easy, though. The first ten years of Beatty's career were spent at the Barter Theater in Abingdon, Virginia. He then moved on to the Erie Playhouse in Pennsylvania, the Playhouse Theater in Houston, Texas, and the prestigious Arena Stage Company in Washington, D.C. He was also a member of Shakespeare in Central Park, Louisville, Kentucky. Later, he appeared in the Broadway production of "The Great White Hope". At the Mark Taper Forum in Los Angeles, he won rave reviews when he starred in "The Accidental Death of an Anarchist."
In 1971, Beatty was chosen by director John Boorman for the role of Bobby Trippe in the hit film/backwoods nightmare Deliverance (1972). Co-star Burt Reynolds and Beatty struck up a friendship, and Ned was then cast by Burt in several other films together, including White Lightning (1973), W.W. and the Dixie Dancekings (1975), and the abysmal Stroker Ace (1983). Ned's talents were also noticed by others in Hollywood and he was cast in many key productions of the 1970s turning in stellar performance, including an Academy Award nomination of Best Supporting Actor for his role in Network (1976). Beatty was also marvelous in Nashville (1975), under fire from a crazed sniper in The Deadly Tower (1975), an undercover FBI man in the action comedy Silver Streak (1976), as Lex Luthor's bumbling assistant, Otis, in the blockbuster Superman (1978) ... and he returned again with Gene Hackman to play Otis and Lex Luthor again in Superman II (1980).
Beatty continued to remain busy throughout the 1980s with appearances in several big budget television productions including The Last Days of Pompeii (1984). However, the overall caliber of the productions in general did not match up to those he had appeared in during the 1970s. Nonetheless, Beatty still shone in films including The Big Easy (1986) and The Fourth Protocol (1987). Into the 1990s, Beatty's work output swung between a mixture of roles in family orientated productions (Gulliver's Travels (1996), Back to Hannibal: The Return of Tom Sawyer and Huckleberry Finn (1990), etc.) taking advantage of his "fatherly" type looks, but he could still accentuate a hard edge, and additionally was cast in Radioland Murders (1994) and Just Cause (1995). His many other films include The Toy (1982), All the President's Men (1976), Wise Blood (1979), Rudy (1993), Spring Forward (1999), Hear My Song (1991) -- for which he earned a Golden Globe nomination for Best Supporting Actor -- Prelude to a Kiss (1992), He Got Game (1998) and Cookie's Fortune (1999). Beatty's numerous television credits include three years on the NBC series Homicide: Life on the Street (1993), Streets of Laredo (1995) and The Boys (1993).
Beatty received an Emmy Award nomination for Best Actor for his performance in Friendly Fire (1979) opposite Carol Burnett, and a Best Supporting Actor nomination for Family Channel's Magic Hour: Tom Alone (1989). Other notable credits include The Wool Cap (2004), The Execution of Private Slovik (1974), A Woman Called Golda (1982), Pray TV (1982), the miniseries Robert Kennedy and His Times (1985), Lockerbie: A Night Remembered (1998) and T Bone N Weasel (1992). He also had a recurring role on Roseanne (1988) and performed musically on television specials for Dolly Parton and The Smothers Brothers.
In 2001, Beatty returned to his theatrical roots starring in London's West End revival production of Tennessee Williams' "Cat on a Hot Tin Roof" with Brendan Fraser. He also appeared in the production on Broadway in 2003/2004 with Jason Patric and Ashley Judd. In 2006, Beatty completed three features to be released next year: The Walker (2007); Paul Schrader's film also starring Woody Harrelson, Kristin Scott Thomas and Lily Tomlin; Paramount Pictures' Shooter (2007) starring Mark Wahlberg; and Charlie Wilson's War (2007), Mike Nichols's film with Tom Hanks, Philip Seymour Hoffman and Julia Roberts. Also in the 21st century, Beatty turned out a terrific performance in the popular Where the Red Fern Grows (2003). Blessed with eight children, Ned Beatty enjoyed golf and playing the bass guitar. He gave himself until the age of 70 to become proficient at both. He died at age 83 of natural causes on June 13, 2021 in Los Angeles, California.749 points- Actor
- Costume Designer
- Second Unit Director or Assistant Director
Spanish actor. He started his career in theatre in 1939, when he was only 17, with the support of the director Modesto Higueras and the painter José Caballero. His first works were as actor, set decorator and costume designer in non-commercial amateur theatre plays, basically at the 'Teatro de las Organizaciones Juveniles (TOI)' and at the TEU. In cinema, he started as a costume designer in films mostly directed by José López Rubio and Rafael Gil and as an assistant director to Pío Ballesteros and Enrique Herreros.
His debut as a professional actor was in 1946 at the 'Teatro María Guerrero' theatre in Madrid, playing roles in plays like 'El Anticuario', 'El vergonzoso en palacio' or 'La dama boba'. Later he formed part of the companies owned by Conchita Montes and Alberto Closas. His debut as a cinema actor was also in 1946 with a little role in _María Fernanda la Jerezana (1946)_. In 1951, in the film _Esa pareja feliz (1951)_, he appeared in the credits together with two debutant key directors in Spanish cinema: Juan Antonio Bardem and Luis García Berlanga.
His first roles were comic roles in general, and increasingly important. In 1958 he started to have his first successes ('Una muchachita de Valladolid' in theatre together with 'Elisa Montes' and Alberto Closas, and The Little Apartment (1958) in cinema together with Mary Carrillo and Concha López Silva).
Since that moment on, he acted in the best theatre companies and also became an almost indispensable figure in Spanish cinema in the following two decades. Some of his best films from this stage are El cochecito (1960), Placido (1961), Robbery at 3 O'clock (1962) and The Executioner (1963). He met film-makers like Marco Ferreri, Juan Antonio Bardem, José María Forqué and Luis García Berlanga, who were able to extract from his funniness amazing nuances like tenderness, dirtiness, meanness, absurd and even nonsense. His popularity raised dramatically after he worked together with Gracita Morales in several films of less importance under the direction of Mariano Ozores and also performed the main role in the TV series "Tercero izquierda".
In the early 70s he surprisingly started to do good dramatic performances in films like _Peppermint frappé (1967)_, The Garden of Delights (1970), _Bosque del lobo, El (1970)_ (Best Actor Award in the 1971 Chicago Film Festival), _Mi querida señorita (1971)_ (Best Actor Award in the 1972 Chicago Film Festival), _Cabina, La (1970) (TV)_ (winner of an Emmy Award), or Habla, mudita (1973). He made a great success with these films which even got stronger after the international effects caused by his TV film 'La cabina' and his contribution to George Cukor's Travels with My Aunt (1972). And this success set the rest of his career, full of successful films both dramatic and comic (_Escopeta nacional, La (1978)_, _Verdad sobre el caso Savolta, La (1979)_, La colmena (1982), _Corte del faraón, La (1985)_, Mi general (1987), _Largo invierno, El (1991)_...
In 1985 he received the 'Medalla de Oro de las Bellas Artes' (Arts Gold Medal).744 points- Actor
- Producer
- Director
A leading man of prodigious talents, Peter O'Toole was born and raised in Leeds, Yorkshire, England, the son of Constance Jane Eliot (Ferguson), a Scottish nurse, and Patrick Joseph O'Toole, an Irish metal plater, football player and racecourse bookmaker. Upon leaving school, he decided to become a journalist, beginning as a newspaper copy boy. Although he succeeded in becoming a reporter, he discovered the theater and made his stage debut at age 17. He served as a radioman in the Royal Navy for two years, then attended the Royal Academy of Dramatic Arts, where his classmates included Albert Finney, Alan Bates and Richard Harris.
O'Toole spent several years on-stage at the Bristol Old Vic, then made an inconspicuous film debut in the Disney classic Kidnapped (1960). In 1962, he was chosen by David Lean to play T.E. Lawrence in Lean's epic drama Lawrence of Arabia (1962). The role made O'Toole an international superstar and received him his first Academy Award nomination for Best Actor in a Leading Role. In 1963, he played Hamlet under Laurence Olivier's direction in the premiere production of the Royal National Theater. He continued successfully in artistically rich films as well as less artistic but commercially rewarding projects. He received Academy Award nominations (but no Oscar) for seven different films.
However, medical problems (originally thought to have been brought on by his drinking but which turned out to be stomach cancer) threatened to destroy his career and life in the 1970s. He survived by giving up alcohol and, after serious medical treatment, returned to films with triumphant performances in The Stunt Man (1980) and My Favorite Year (1982). His youthful beauty lost to time and drink, O'Toole has found meaningful roles increasingly difficult to come by, though he remained one of the greatest actors of his generation. He had two daughters, Pat and Kate O'Toole, from his marriage to actress Siân Phillips. He also had a son, Lorcan O'Toole, by model Karen Brown.
On December 14, 2013, Peter O'Toole died at age 81 in London, England.740 points- Actor
- Producer
- Stunts
He was the ultra-cool male film star of the 1960s, and rose from a troubled youth spent in reform schools to being the world's most popular actor. Over 40 years after his untimely death from mesothelioma in 1980, Steve McQueen is still considered hip and cool, and he endures as an icon of popular culture.
McQueen was born in Beech Grove, Indiana, to mother Julian (Crawford) and father William Terence McQueen, a stunt pilot. His first lead role was in the low-budget sci-fi film The Blob (1958), quickly followed by roles in The St. Louis Bank Robbery (1959) and Never So Few (1959). The young McQueen appeared as Vin, alongside Yul Brynner, in the star-laden The Magnificent Seven (1960) and effectively hijacked the lead from the bigger star by ensuring he was nearly always doing something in every shot he and Brynner were in together, such as adjusting his hat or gun belt. He next scored with audiences with two interesting performances, first in the World War II drama Hell Is for Heroes (1962) and then in The War Lover (1962). Riding a wave of popularity, McQueen delivered another crowd pleaser as Hilts, the Cooler King, in the knockout World War II P.O.W. film The Great Escape (1963), featuring his famous leap over the barbed wire on a motorcycle while being pursued by Nazi troops (in fact, however, the stunt was actually performed by his good friend, stunt rider Bud Ekins).
McQueen next appeared in several films of mixed quality, including Soldier in the Rain (1963); Love with the Proper Stranger (1963) and Baby the Rain Must Fall (1965). However, they failed to really grab audience attention, but his role as Eric Stoner in The Cincinnati Kid (1965), alongside screen legend Edward G. Robinson and Karl Malden, had movie fans filling theaters again to see the ice-cool McQueen they loved. He was back in another Western, Nevada Smith (1966), again with Malden, and then he gave what many consider to be his finest dramatic performance as loner US Navy sailor Jake Holman in the superb The Sand Pebbles (1966). McQueen was genuine hot property and next appeared with Faye Dunaway in the provocative crime drama The Thomas Crown Affair (1968), next in what many consider his signature role, that of a maverick, taciturn detective in the mega-hit Bullitt (1968), renowned for its famous chase sequence through San Francisco between McQueen's Ford Mustang GT and the killer's black Dodge Charger.
Interestingly, McQueen's next role was a total departure from the action genre, as he played Southerner Boon Hogganbeck in the family-oriented The Reivers (1969), based on the popular William Faulkner novel. Not surprisingly, the film didn't go over particularly well with audiences, even though it was an entertaining and well made production, and McQueen showed an interesting comedic side of his acting talents. He returned to more familiar territory, with the race film Le Mans (1971), a rather self-indulgent exercise, and its slow plot line contributed to its rather poor performance in theaters. It was not until many years later that it became something of a cult film, primarily because of the footage of Porsche 917s roaring around race tracks in France. McQueen then teamed up with maverick Hollywood director Sam Peckinpah to star in the modern Western Junior Bonner (1972), about a family of rodeo riders, and again with Peckinpah as bank robber Doc McCoy in the violent The Getaway (1972). Both did good business at the box office. McQueen's next role was a refreshing surprise and Papillon (1973), based on the Henri Charrière novel of the same name, was well received by fans and critics alike. He played a convict on a French penal colony in South America who persists in trying to escape from his captors and feels their wrath when his attempts fail.
The 1970s is a decade remembered for a slew of "disaster" movies and McQueen starred in arguably the biggest of the time, The Towering Inferno (1974). He shared equal top billing with Paul Newman and an impressive line-up of co-stars including Fred Astaire, Robert Vaughn and Faye Dunaway. McQueen does not appear until roughly halfway into the film as San Francisco fire chief Mike O'Halloran, battling to extinguish an inferno in a 138-story skyscraper. The film was a monster hit and set the benchmark for other disaster movies that followed. However, it was McQueen's last film role for several years. After a four-year hiatus he surprised fans, and was almost unrecognizable under long hair and a beard, as a rabble-rousing early environmentalist in An Enemy of the People (1978), based on the Henrik Ibsen play.
McQueen's last two film performances were in the unusual Western Tom Horn (1980), then he portrayed real-life bounty hunter Ralph "Papa' Thorson (Ralph Thorson) in The Hunter (1980). In 1978, McQueen developed a persistent cough that would not go away. He quit smoking cigarettes and underwent antibiotic treatments without improvement. Shortness of breath grew more pronounced and on December 22, 1979, after he completed work on 'The Hunter', a biopsy revealed pleural mesothelioma, a rare lung cancer associated with asbestos exposure for which there is no known cure. The asbestos was thought to have been in the protective suits worn in his race car driving days, but in fact the auto racing suits McQueen wore were made of Nomex, a DuPont fire-resistant aramid fiber that contains no asbestos. McQueen later gave a medical interview in which he believed that asbestos used in movie sound stage insulation and race-drivers' protective suits and helmets could have been involved, but he thought it more likely that his illness was a direct result of massive exposure while removing asbestos lagging from pipes aboard a troop ship while in the US Marines.
By February 1980, there was evidence of widespread metastasis. While he tried to keep the condition a secret, the National Enquirer disclosed that he had "terminal cancer" on March 11, 1980. In July, McQueen traveled to Rosarito Beach, Mexico for an unconventional treatment after American doctors told him they could do nothing to prolong his life. Controversy arose over McQueen's Mexican trip, because McQueen sought a non-traditional cancer treatment called the Gerson Therapy that used coffee enemas, frequent washing with shampoos, daily injections of fluid containing live cells from cows and sheep, massage and laetrile, a supposedly "natural" anti-cancer drug available in Mexico, but not approved by the US Food and Drug Administration. McQueen paid for these unconventional medical treatments by himself in cash payments which was said to have cost an upwards of $40,000 per month during his three-month stay in Mexico. McQueen was treated by William Donald Kelley, whose only medical license had been (until revoked in 1976) for orthodontics.
McQueen returned to the United States in early October 1980. Despite metastasis of the cancer through McQueen's body, Kelley publicly announced that McQueen would be completely cured and return to normal life. McQueen's condition soon worsened and "huge" tumors developed in his abdomen. In late October, McQueen flew to Ciudad Juarez, Chihuahua, Mexico to have an abdominal tumor on his liver (weighing around five pounds) removed, despite warnings from his American doctors that the tumor was inoperable and his heart could not withstand the surgery. McQueen checked into a Juarez clinic under the alias "Sam Shepard" where the local Mexican doctors and staff at the small, low-income clinic were unaware of his actual identity.
Steve McQueen passed away on November 7, 1980, at age 50 after the cancer surgery which was said to be successful. He was cremated and his ashes were scattered at sea. He married three times and had a lifelong love of motor racing, once remarking, "Racing is life. Anything before or after is just waiting.".733 points- Actor
- Producer
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Alain Fabien Maurice Marcel Delon was born in Sceaux, Hauts-de-Seine, France, to Édith (Arnold) and Fabien Delon. His father was of French and Corsican Italian descent, and his mother was of French and German ancestry. His parents divorced early on, and Delon had a stormy childhood, being frequently expelled from school.
In 1953/1954 he served with the French Marines in Indochina. In the mid-'50s he worked at various odd jobs including waiter, salesman and porter in Les Halles market. He decided to try an acting career and in 1957 made his film debut in Yves Allégret's Quand la femme s'en mêle (1957). He declined an offer of a contract from producer David O. Selznick, and in 1960 he received international recognition for his role in Luchino Visconti's Rocco and His Brothers (1960). In 1961 he appeared on the stage in "'Tis a Pity She's a Whore", directed by Visconti, in Paris. In 1964 he formed his own production company, Delbeau Productions, and he produced a short film directed by Guy Gilles. In 1968 he found himself involved in murder, drug and sex scandal that indirectly implicated major politicians and show-business personalities, but he was eventually cleared of all charges. In the late 1960s he formed another company. Adel Film, and the next year he began producing features. In 1981 he directed his first film, To Kill a Cop (1981).
Delon was a sensation early in his career; he came to embody the young, energetic, often morally corrupted man. With his breathtaking good looks he was also destined to play tender lovers and romantic heroes, and he was a French embodiment of the type created in America by James Dean. His first outstanding success came with the role of the parasite Tom Ripley in 'Rene Clement''s sun-drenched thriller Purple Noon (1960). Delon presented a psychological portrait of a murderous young cynic who attempts to take on the identity of his victim. A totally different role was offered to him by Visconti in Rocco and His Brothers (1960). In this film Delon plays the devoted Rocco, who accepts the greatest sacrifices to save his shiftless brother Simon.
After several other films in Italy, Delon returned to the criminal genre with Jean Gabin in Any Number Can Win (1963). This work, a classic example of the genre, was distinguished not only by a soundly worked-out screenplay, but also by the careful production and the excellent performances of both Delon and Gabin. It was only in the late 1960s that the sleek and lethal Delon came to epitomize the calm, psychopathic hoodlum, staring into the camera like a cat assessing a mouse. His tough, ruthless side was first used to real effect by Jean-Pierre Melville in The Samurai (1967). In 1970 he had a huge success in the bloodstained Borsalino (1970)--which he also produced--playing a small-time gangster in the 1930s who, with Jean-Paul Belmondo, becomes king of the Marseilles underworld. Delon later won critical acclaim for his roles, against type, in Joseph Losey's Mr. Klein (1976) in which he played (brilliantly) the icily sinister title role, and the art-movie Swann in Love (1984). He has an older son Anthony Delon (who has also acted in a number of movies) from his first marriage to Nathalie Delon, and has a young son and daughter, Alain-Fabien and Anouchka with Rosalie.731 points- Actor
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- Director
Giancarlo Giannini is an Oscar-nominated Italian actor, director and multilingual dubber who made an international reputation for his leading roles in Italian films as well as for his mastery of a variety of languages and dialects.
He was born August 1, 1942, in La Spezia, Italy. For 10 years he lived and studied in Naples, earning a degree in electronics. At 18 he enrolled in the Academy of Dramatic Art D'Amico in Rome and made his stage acting debut there. His credits included performances in contemporary Italian plays as well, as in Italian productions of William Shakespeare's plays "Romeo and Juliet" and "A Midsummer's Night Dream". In 1965 he made his television debut starring as David Copperfield in the TV miniseries made by RAI ,the Italian national TV company. He made his big-screen debut in Libido (1965), a Freudian psychological thriller. Since 1966 he has been in a successful collaboration with legendary Italian director Lina Wertmüller, who made several award-winning films with Giannini as a male lead. He appears as peasant Tonino who prepares to assassinate dictator Benito Mussolini in Love & Anarchy (1973), as a sailor in the irony-laden comedy Swept Away (1974), and as a concentration-camp survivor in the Oscar-nominated Seven Beauties (1975). He also starred as a Jewish musician arrested by the Nazis in Rainer Werner Fassbinder's masterpiece Lili Marleen (1981).
Giannini also made a reputation for dubbing international stars in films released on the Italian market, such as Jack Nicholson, Al Pacino, Michael Douglas, Dustin Hoffman, Gérard Depardieu, and Ian McKellen, among others. He received a compliment from Stanley Kubrick for his dubbing of Nicholson in The Shining (1980). Giannini's fluency in English and his mastery of dialects has brought him a number of supporting roles in Hollywood productions, such as A Walk in the Clouds (1995), Hannibal (2001), Darkness (2002), and Man on Fire (2004), among many others. He appears as Rene Mathis in the 21st James Bond film Casino Royale (2006), and reprises the role in the sequel, Quantum of Solace (2008).731 points- Writer
- Director
- Actor
Woody Allen was born on November 30, 1935, as Allen Konigsberg, in The Bronx, NY, the son of Martin Konigsberg and Nettie Konigsberg. He has one younger sister, Letty Aronson. As a young boy, he became intrigued with magic tricks and playing the clarinet, two hobbies that he continues today.
Allen broke into show business at 15 years when he started writing jokes for a local paper, receiving $200 a week. He later moved on to write jokes for talk shows but felt that his jokes were being wasted. His agents, Charles Joffe and Jack Rollins, convinced him to start doing stand-up and telling his own jokes. Reluctantly he agreed and, although he initially performed with such fear of the audience that he would cover his ears when they applauded his jokes, he eventually became very successful at stand-up. After performing on stage for a few years, he was approached to write a script for Warren Beatty to star in: What's New Pussycat (1965) and would also have a moderate role as a character in the film. During production, Woody gave himself more and better lines and left Beatty with less compelling dialogue. Beatty inevitably quit the project and was replaced by Peter Sellers, who demanded all the best lines and more screen-time.
It was from this experience that Woody realized that he could not work on a film without complete control over its production. Woody's theoretical directorial debut was in What's Up, Tiger Lily? (1966); a Japanese spy flick that he dubbed over with his own comedic dialogue about spies searching for the secret recipe for egg salad. His real directorial debut came the next year in the mockumentary Take the Money and Run (1969). He has written, directed and, more often than not, starred in about a film a year ever since, while simultaneously writing more than a dozen plays and several books of comedy.
While best known for his romantic comedies Annie Hall (1977) and Manhattan (1979), Woody has made many transitions in his films throughout the years, transitioning from his "early, funny ones" of Bananas (1971), Love and Death (1975) and Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972); to his more storied and romantic comedies of Annie Hall (1977), Manhattan (1979) and Hannah and Her Sisters (1986); to the Bergmanesque films of Stardust Memories (1980) and Interiors (1978); and then on to the more recent, but varied works of Crimes and Misdemeanors (1989), Husbands and Wives (1992), Mighty Aphrodite (1995), Celebrity (1998) and Deconstructing Harry (1997); and finally to his films of the last decade, which vary from the light comedy of Scoop (2006), to the self-destructive darkness of Match Point (2005) and, most recently, to the cinematically beautiful tale of Vicky Cristina Barcelona (2008). Although his stories and style have changed over the years, he is regarded as one of the best filmmakers of our time because of his views on art and his mastery of filmmaking.725 points- Actor
- Additional Crew
Fernando Rey, the great Spanish movie actor primarily known in the United States for his role as "Frog One" in The French Connection (1971) and its sequel, was born Fernando Casado D'Arambillet on September 20 1917, in A Coruña, Galicia, Spain, the son of Colonel Casado Veiga. Originally, the young Fernando intended to become an architect. However, when the Spanish Civil War erupted in 1936, his architectural studies were interrupted, and he gained employment as a movie extra. He took the stage name "Fernando Rey" at the beginning of his career, equivalent, in English, to "Fernando King". Eight years after his movie debut, he was cast in his first major speaking role, as the Duke de Alba in José López Rubio's 1944 movie "Eugenia de Montijo".
Rey enjoyed a long and prosperous career as an actor in movies, the theater, radio, and television. He also was a major voice-over artist in Spain, narrating films and dubbing the voices of actors in foreign films. Rey's most fruitful collaboration was with the great director Luis Buñuel, which began during the 1960s and continued thought the 1970s. The films that Rey appeared in for Buñuel' made him an international star, the first produced by the Spanish cinema. By the early 1970s, Rey's career reached its high point, with his co-starring role in "The French Connection" (Best Picture Oscar Winner for 1971) and his starring role in Buñuel's The Discreet Charm of the Bourgeoisie (1972) ("The Discreet Charm of the Bourgeoisie", Best Foreign Language Film Oscar winner for 1972). Rey followed up these successes by appearing in The French Connection (1971) in 1974, and Buñuel's tandem That Obscure Object of Desire (1977) ("That Obscure Object of Desire"), an art-house hit that was nominated for the Best Foreign Language Film Oscar. Ironically, in the film, Rey's voice was dubbed into French by Michel Piccoli. That same year, he won the Best Actor prize at Cannes for Carlos Saura' Elisa, My Life (1977).
Many honors came to Rey in the twilight of his career, during the 1980s and 1990s. He was awarded at San Sebastián and Cannes, and was presented with the gold medal of the Spanish Art and Movie Sciences Academy. He became the president of that Academy from 1992 till his death from cancer two years later.721 points- Paul Frankeur was born on 29 June 1905 in Paris, France. He was an actor, known for The Discreet Charm of the Bourgeoisie (1972), The Phantom of Liberty (1974) and Children of Paradise (1945). He died on 27 October 1974 in Nevers, Nièvre, France.721 points
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He made his movie debut at the invitation of Gene Kelly, who cast Cassel in the 1956 Paris-filmed seriocomedy The Happy Road (1957). At least, that's what the press releases claimed; actually, the tall, elastic-faced Cassel had been plugging away in films on a minor basis since 1950. Shortly after, Cassel was perfectly cast in the naif title role in the 1958 film version of Voltaire's Candide. He has since been a stalwart in the comedies of director Philippe de Broca, nearly always playing latter-day variations of the ingenuous Candide. Since this time, he is the screen-lover of some of the best actresses like Jean Seberg, Brigitte Bardot, Claude Jade, Catherine Deneuve, Stéphane Audran or Marie Dubois. He played in Gérard Brach's The Boat on the Grass (1971) (1970) with Claude Jade and John McEnery. In 1974, Jean-Pierre Cassel added thousands of American filmgoers to his fan following with his appearances as the bumbling King Louis XIII in Richard Lester's The Three Musketeers (1973) and The Four Musketeers: Milady's Revenge (1974).721 points- Actor
- Producer
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This suave, elegant character star was a ubiquitous presence in French cinema for nearly seven decades. His distinguished career extended to both stage and screen and his versatility was such that he could take on just about any persona (in his own words: "I do not put on an act... I slip away behind my characters"), from police inspectors to gangsters, from priests and academics to King Louis XVI and the Marquis de Sade. More than a few of his portrayals were of ordinary bourgeois caught up in difficult circumstances or undergoing mid-life crisis. However, Piccoli truly excelled in sardonic, cynical or morally ambiguous roles - playing smooth, quietly-spoken types harbouring dark passions or sinister secrets. His directors have included a veritable who's who of European film makers: Luis Buñuel (six times), Claude Sautet (five times), Alfred Hitchcock (who cast him as Jacques Granville, the principal antagonist in Topaz (1969)), Jean-Pierre Melville, Louis Malle, Alain Resnais, and Jean-Luc Godard.
Piccoli was born in Paris on December 27 1925. His parents were both musicians: his father a Swiss-born violinist, his mother a French pianist. He made his screen debut at 19, for a number of years confined to small supporting roles. Becoming actively involved in left-wing politics, Piccoli joined the Saint-Germain-des-Prés social set, headquartered at the Tabou club and comprising intellectuals and artists whose adherents included the philosophers Simone de Beauvoir and Jean-Paul Sartre, as well as the chanson and cabaret singer Juliette Gréco (to whom Piccoli was married from 1966 to 1976). His career took off in the early 60s and he enjoyed his first major success as Brigitte Bardot's husband in Godard's Contempt (1963). Luis Bunuel also recognized Piccoli's potential and employed his trademark cerebral eloquence on pivotal parts in important films like Diary of a Chambermaid (1964), Belle de Jour (1967) and The Discreet Charm of the Bourgeoisie (1972). In 1973, Piccoli formed his own production company, Films 66, which allowed him even greater freedom in selecting his roles. He continued to work steadily, retaining his huge popularity with French audiences throughout the 80s and 90s. Though nominated four times, he never won the coveted Cesar Award. However, his many other accolades included a win as best actor at Cannes in 1980 and two German Film Awards (in 1988 and 1992). He also directed three feature films, one of which, Alors voilà, (1997), won the Bastone Bianco critical award at the Venice Film Festival.721 points- Actor
- Director
- Additional Crew
Andrzej Lapicki was born on 11 November 1924 in Riga, Latvia. He was an actor and director, known for Lalka (1968), Zbrodnia lorda Artura Savile'a (1968) and Television Theater (1953). He was married to Kamila Mscichowska and Zofia Chrzaszczewska. He died on 21 July 2012 in Warsaw, Mazowieckie, Poland.718 points- Gustaw Holoubek was born on April 21, 1923. He was a Polish actor, director, member of the Polish Sejm, and a senator. Holoubek participated in the September Campaign and was a prisoner of war during the Nazi German Occupation of Poland. His father was a Czech immigrant who settled in Poland after the First World War, and his mother was Polish. Holoubek had his first role as an actor in 1947, thus beginning his lifelong career in theatre and film in Poland and abroad. His political career began in 1976, when he was elected to the Sejm, the lower house of the Polish Parliament. He was re-elected in 1980, but resigned in 1981 when martial law was declared. In 1989, he was elected to the Senate, the upper house. That same year, he took a position as a professor at the Academy of Theatre in Warsaw. Holoubek was a recipient of the Order of Polonia Restituta (Knight's Cross, Commander's Cross with Star, Grand Cross). He was married to Magdalena Zawadzka, Danuta Kwiatkowska and Maria Wachowiak. He died on March 6, 2008 in Warsaw, Mazowieckie, Poland.718 points
- Actor
- Producer
- Soundtrack
Topol was born on 9 September 1935 in Tel Aviv, Palestine [now Israel]. He was an actor and producer, known for Fiddler on the Roof (1971), Flash Gordon (1980) and For Your Eyes Only (1981). He was married to Galia Topol. He died on 8 March 2023 in Tel Aviv, Israel.717 points- Actor
- Producer
- Director
Anthony Quinn was born Antonio Rodolfo Quinn Oaxaca (some sources indicate Manuel Antonio Rodolfo Quinn Oaxaca) on April 21, 1915, in Chihuahua, Mexico, to Manuela (Oaxaca) and Francisco Quinn, who became an assistant cameraman at a Los Angeles (CA) film studio. His paternal grandfather was Irish, and the rest of his family was Mexican.
After starting life in extremely modest circumstances in Mexico, his family moved to Los Angeles, where he grew up in the Boyle Heights and Echo Park neighborhoods. He played in the band of evangelist Aimee Semple McPherson as a youth and as a deputy preacher. He attended Polytechnic High School and later Belmont High, but eventually dropped out. The young Quinn boxed (which stood him in good stead as a stage actor, when he played Stanley Kowalski in "A Streetcar Named Desire" to rave reviews in Chicago), then later studied architecture under Frank Lloyd Wright at the great architect's studio, Taliesin, in Arizona. Quinn was close to Wright, who encouraged him when he decided to give acting a try. Made his credited film debut in Parole! (1936). After a brief apprenticeship on stage, Quinn hit Hollywood in 1936 and picked up a variety of small roles in several films at Paramount, including an Indian warrior in The Plainsman (1936), which was directed by the man who later became his father-in-law, Cecil B. DeMille.
As a contract player at Paramount, Quinn's roles were mainly ethnic types, such as an Arab chieftain in the Bing Crosby-Bob Hope comedy, Road to Morocco (1942). As a Mexican national (he did not become an American citizen until 1947), he was exempt from the draft. With many other actors in military service during WWII, he was able to move up into better supporting roles. He married DeMille's daughter Katherine DeMille, which afforded him entrance to the top circles of Hollywood society. He became disenchanted with his career and did not renew his Paramount contract despite the advice of others, including his father-in-law, with whom he did not get along (whom Quinn reportedly felt had never accepted him due to his Mexican roots; the two men were also on opposite ends of the political spectrum) but they eventually were able to develop a civil relationship. Quinn returned to the stage to hone his craft. His portrayal of Stanley Kowalski in "A Streetcar Named Desire" in Chicago and on Broadway (where he replaced the legendary Marlon Brando, who is forever associated with the role) made his reputation and boosted his film career when he returned to the movies.
Brando and Elia Kazan, who directed "Streetcar" on Broadway and on film (A Streetcar Named Desire (1951)), were crucial to Quinn's future success. Kazan, knowing the two were potential rivals due to their acclaimed portrayals of Kowalski, cast Quinn as Brando's brother in his biographical film of Mexican revolutionary Emiliano Zapata, Viva Zapata! (1952). Quinn won the Best Supporting Actor Academy Award for 1952, making him the first Mexican-American to win an Oscar. It was not to be his lone appearance in the winner's circle: he won his second Supporting Actor Oscar in 1957 for his portrayal of Paul Gauguin in Vincente Minnelli's biographical film of Vincent van Gogh, Lust for Life (1956), opposite Kirk Douglas. Over the next decade Quinn lived in Italy and became a major figure in world cinema, as many studios shot films in Italy to take advantage of the lower costs ("runaway production" had battered the industry since its beginnings in the New York/New Jersey area in the 1910s). He appeared in several Italian films, giving one of his greatest performances as the circus strongman who brutalizes the sweet soul played by Giulietta Masina in her husband Federico Fellini's masterpiece The Road (1954). He met his second wife, Jolanda Addolori, a wardrobe assistant, while he was in Rome filming Barabbas (1961).
Alternating between Europe and Hollywood, Quinn built his reputation and entered the front rank of character actors and character leads. He received his third Oscar nomination (and first for Best Actor) for George Cukor's Wild Is the Wind (1957). He played a Greek resistance fighter against the Nazi occupation in the monster hit The Guns of Navarone (1961) and received kudos for his portrayal of a once-great boxer on his way down in Rod Serling's Requiem for a Heavyweight (1962). He went back to playing ethnic roles, such as an Arab warlord in David Lean's masterpiece Lawrence of Arabia (1962), and he played the eponymous lead in the "sword-and-sandal" blockbuster Barabbas (1961). Two years later, he reached the zenith of his career, playing Zorba the Greek in the film of the same name (a.k.a. Zorba the Greek (1964)), which brought him his fourth, and last, Oscar nomination as Best Actor. The 1960s were kind to him: he played character leads in such major films as The Shoes of the Fisherman (1968) and The Secret of Santa Vittoria (1969). However, his appearance in the title role in the film adaptation of John Fowles' novel, The Magus (1968), did nothing to save the film, which was one of that decade's notorious turkeys.
In the 1960s, Quinn told Life magazine that he would fight against typecasting. Unfortunately, the following decade saw him slip back into playing ethnic types again, in such critical bombs as The Greek Tycoon (1978). He starred as the Hispanic mayor of a southwestern city on the short-lived television series The Man and the City (1971), but his career lost its momentum during the 1970s. Aside from playing a thinly disguised Aristotle Onassis in the cinematic roman-a-clef The Greek Tycoon (1978), his other major roles of the decade were as Hamza in the controversial The Message (1976) (a.k.a. "Mohammad, Messenger of God"); as the Italian patriarch in The Inheritance (1976); yet another Arab in Caravans (1978); and as a Mexican patriarch in The Children of Sanchez (1978). In 1983, he reprised his most famous role, Zorba the Greek, on Broadway in the revival of the musical "Zorba" for 362 performances (opposite Lila Kedrova, who had also appeared in the film, and won an Oscar for Best Supporting Actress for her performance). His career slowed during the 1990s but he continued to work steadily in films and television, including an appearance with frequent film co-star Maureen O'Hara in Only the Lonely (1991).
Quinn lived out the latter years of his life in Bristol, Rhode Island, where he spent most of his time painting and sculpting. Beginning in 1982, he held numerous major exhibitions in cities such as Vienna, Paris, and Seoul. He died in a hospital in Boston at age 86 from pneumonia and respiratory failure linked to his battle with throat cancer.716 points- Actor
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Physically imposing, intense Yaphet Kotto was one of the few actors of his generation to succeed in breaking racial stereotypes in Hollywood. He was born in Harlem, New York, the son of Gladys, a nurse and army officer, and Abraham Kotto, a businessman-turned-construction worker. His father was a Cameroonian immigrant, of royal ancestry (his great-grandfather had been a king in pre-colonial days), and his mother's family was from Antigua and Panama. Yaphet, whose first name means "beautiful" in Hebrew, was raised in the Jewish faith. After his parents divorced, he was brought up by his grandparents in the tough Bronx district of New York. He also had an aunt in showbiz who ran a dance academy. Among her alumni were Marlon Brando and James Dean. In fact, it was Brando's performance in On the Waterfront (1954) which inspired Kotto to go into acting.
He began acting on stage in 1958 with little theatrical experience, making his debut in the title role of Othello, a role he eventually reprised on screen in 1980. He also appeared on Broadway as understudy to James Earl Jones in The Great White Hope. After joining the Actor's Studio, Kotto commenced his screen career and soon gathered critical recognition with several edgy performances across diverse genres. From playing a barkeeper in 5 Card Stud (1968) and a thief in The Thomas Crown Affair (1968), he moved on to juicier supporting roles as the evil Kananga/Mr. Big in the James Bond thriller Live and Let Die (1973), Ugandan dictator Idi Amin in the telemovie Raid on Entebbe (1976) and the ill-fated Nostromo engineer Parker in Alien (1979). Kotto also starred as a street-smart Detroit car worker in Blue Collar (1978) and had a recurring role as a senior detective on television's long-running crime series Homicide: Life on the Street (1993) (in addition to penning several scripts for the show). He was even on a Paramount shortlist for the coveted role of Jean Luc Picard in Star Trek: The Next Generation (1987), alongside Mitchell Ryan and Roy Thinnes). He apparently spurned the role for fear of being typecast, but came to rueing that decision in later years. For the same reason Kotto had also turned down the part of Lando Calrissian in the Star Wars franchise (which went to Billy Dee Williams).
Kotto died on March 15 2021 in Manila, Phillipines at the age of 81.716 points- Franciosa was born Anthony Papaleo on October 25, 1928, in New York City. The son of a construction worker and seamstress who divorced when he was a year old, he seldom saw his father after this and never man really got to know the other. After graduating high school, during a visit to a YMCA to take a free dance lesson, Franciosa came across an audition for a play. Intrigued, he auditioned and was offered a part.
Franciosa began acting professionally, taking his mother's maiden name as his stage name, and had his breakthrough in Calder Willingham's play "End as a Man" (1955), which opened off-Broadway at the Theatre de Lys on September 15, 1953 and transferred to Broadway on October 14 after 32 performances. It was directed by Jack Garfein and co-starred Ben Gazzara (who won a Theatre World Award and would appear in the movie version), both of whom were associated with the Actors Studio, as was Franciosa. His first wife, Beatrice Bakalyar, was a writer.
In 1955, he first appeared in the role that would make him famous: "Polo Pope", the brother of a heroin addict, in an Actors Studio workshop production of Michael V. Gazzo's A Hatful of Rain (1957). The production later moved to Broadway, where Franciosa earned an Outer Critics Circle Award and a Tony Award nomination. Hollywood beckoned, and he made his film debut in Robert Wise's This Could Be the Night (1957) with Paul Douglas and Jean Simmons.
He appeared in Actors Studio co-founder Elia Kazan's A Face in the Crowd (1957) before reprising the role of "Polo Pope" in Fred Zinnemann's A Hatful of Rain (1957). Franciosa won an Academy Award nomination for Best Actor in 1958 for "Hatful" and, with his good looks, was a very hot commodity in Hollywood. He followed up his strong debut by starring in a variety of top A-list films, including George Cukor's Wild Is the Wind (1957), Martin Ritt's The Long, Hot Summer (1958) and The Naked Maja (1958), in which he played painter Francisco Jose de Goya, opposite Ava Gardner.
Franciosa's career began to run out of momentum almost as quickly as it had started, as he rapidly developed a reputation as a combative personality, earning him a reputation as "difficult". Although he starred in George Roy Hill's adaptation of Tennessee Williams' Period of Adjustment (1962), by 1964 he was reduced to appearing in a TV series, Valentine's Day (1964), which lasted a single season. In 1968 he was cast as one of three alternating leads in the television series The Name of the Game (1968), a spin-off from the 1966 TV movie Fame Is the Name of the Game (1966) (the first TV-movie ever made as a pilot for a TV series that was subsequently picked up as a series). Although the show was popular with audiences, Franciosa was fired after appearing in the first two seasons; NBC justified giving him the sack because the actor's mercurial temper was causing too many problems on the set. Looking back at his career in a 1996 interview, Franciosa acknowledged that he was too inexperienced to handle sudden stardom. "It was an incredible amount of attention, and I wasn't quite mature enough psychologically and emotionally for it".
He starred in the series Matt Helm (1975), which only lasted one season, but his talent and charm meant he was in demand throughout the five decades of his career, though not in the kinds of roles that characterized the first two decades of his star period. He continued to act in supporting roles in movies and starring roles in TV movies and series until he retired in 1996. He appeared in one last project, "Manifest Mysteries: Coronation" (2006), shortly before his death on January 19, 2006 in Los Angeles, at the age of 77, five days after that of his ex-wife, actress Shelley Winters.716 points - Actor
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Billy Dee Williams was born William December Williams on April 6, 1937 in New York City. Billy Dee has notched up an impressive array of film and television appearances over the past 50+ years. He is easily best known to international film audiences as the roguish Lando Calrissian in the last two episodes of the original Star Wars trilogy: Star Wars: Episode V - The Empire Strikes Back (1980) and Star Wars: Episode VI - Return of the Jedi (1983). Williams can also be seen on screen in Lady Sings the Blues (1972), Nighthawks (1981), Batman (1989), Moving Target (1996) and Undercover Brother (2002). A regular performer also in many fine quality television movies and television series.712 points- Actor
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- Producer
Highly influential, and always controversial, African-American actor/comedian who was equally well known for his colorful language during his live comedy shows, as for his fast paced life, multiple marriages and battles with drug addiction. He has been acknowledged by many modern comic artist's as a key influence on their careers, and Pryor's observational humor on African-American life in the USA during the 1970s was razor sharp brilliance.
He was born Richard Franklin Lennox Pryor III on December 1, 1940, in Peoria, Illinois, the son of Gertrude L. (Thomas) and LeRoy "Buck Carter" Pryor. His mother, a prostitute, abandoned him when he was ten years of age, after which he was raised in his grandmother's brothel. Unfortunately, Pryor was molested at the age of six by a teenage neighbor, and later by a neighborhood preacher. To escape this troubled life, the young Pryor was an avid movie fan and a regular visitor to local movie theaters in Peoria. After numerous jobs, including truck driver and meat packer, the young Pryor did a stint in the US Army between 1958 & 1960 in which he performed in amateur theater shows. After he left the services in 1960, Pryor started singing in small clubs, but inadvertently found that humor was his real forte.
Pryor spent time in both New York & Las Vegas, honing his comic craft. However, his unconventional approach to humor sometimes made bookings difficult to come by and this eventually saw Pryor heading to Los Angeles. He first broke into films with minor roles in The Busy Body (1967) and Wild in the Streets (1968). However, his performance as a drug addicted piano player in Lady Sings the Blues (1972), really got the attention of fans and film critics alike.
He made his first appearance with Gene Wilder in the very popular action/comedy Silver Streak (1976), played three different characters in Which Way Is Up? (1977) and portrayed real-life stock-car driver "Wendell Scott" in Greased Lightning (1977). Proving he was more than just a comedian, Pryor wowed audiences as a disenchanted auto worker who is seduced into betraying his friends and easy money in the Paul Schrader working class drama Blue Collar (1978), also starring Yaphet Kotto and Harvey Keitel. Always a strong advocate of African-American talent, Pryor next took a key role in The Wiz (1978), starring an all African-American cast, including Diana Ross and Michael Jackson, retelling the story of The Wizard of Oz (1939). His next four screen roles were primarily cameos in California Suite (1978); The Muppet Movie (1979); Wholly Moses! (1980) and In God We Trust (or Gimme That Prime Time Religion) (1980). However, Pryor teamed up with Gene Wilder once more for the prison comedy Stir Crazy (1980), which did strong box office business.
His next few films were a mixed bag of material, often inhibiting Pryor's talent, with equally mixed returns at the box office. Pryor then scored second billing to Christopher Reeve in the big budget Superman III (1983), and starred alongside fellow funny man John Candy in Brewster's Millions (1985) before revealing his inner self in the autobiographical Jo Jo Dancer, Your Life Is Calling (1986). Again, Pryor was somewhat hampered by poor material in his following film ventures. However, he did turn up again in See No Evil, Hear No Evil (1989) with Gene Wilder, but the final product was not as sharp as their previous pairings. Pryor then partnered on-screen with two other very popular African-American comic's. The legendary Redd Foxx and 1980s comic newcomer Eddie Murphy starred with Pryor in the gangster film Harlem Nights (1989) which was also directed by Eddie Murphy. Having contracted multiple sclerosis in 1986, Pryor's remaining film appearances were primarily cameos apart from his fourth and final outing with Gene Wilder in the lukewarm Another You (1991), and his final appearance in a film production was a small role in the David Lynch road flick Lost Highway (1997).
Fans of this outrageous comic genius are encouraged to see his live specials Richard Pryor: Live and Smokin' (1971); the dynamic Richard Pryor: Live in Concert (1979); Richard Pryor: Live on the Sunset Strip (1982) and Richard Pryor... Here and Now (1983). In addition, The Richard Pryor Show (1977) is a must-have for any Richard Pryor fans' DVD collection.
Unknown to many, Pryor was a long time advocate against animal cruelty, and he campaigned against fast food chains and circus shows to address issues of animal welfare. He was married a total of seven times, and fathered eight children.
After long battles with ill health, Richard Pryor passed away on December 10th, 2005.712 points- Actor
- Producer
- Stunts
Eugene Allen Hackman was born in San Bernardino, California, the son of Ann Lydia Elizabeth (Gray) and Eugene Ezra Hackman, who operated a newspaper printing press. He is of Pennsylvania Dutch (German), English, and Scottish ancestry, partly by way of Canada, where his mother was born. After several moves, his family settled in Danville, Illinois. Gene grew up in a broken home, which he left at the age of sixteen for a hitch with the US Marines.
Moving to New York after being discharged, he worked in a number of menial jobs before studying journalism and television production on the G.I. Bill at the University of Illinois. Hackman would be over 30 years old when he finally decided to take his chance at acting by enrolling at the Pasadena Playhouse. Legend says that Hackman and friend Dustin Hoffman were voted "least likely to succeed."
Hackman next moved back to New York, where he worked in summer stock and off-Broadway. In 1964 he was cast as the young suitor in the Broadway play "Any Wednesday." This role would lead to him being cast in the small role of Norman in Lilith (1964), starring Warren Beatty. When Beatty was casting for Bonnie and Clyde (1967), he cast Hackman as Buck Barrow, Clyde Barrow's brother. That role earned Hackman a nomination for the Academy Award for Best Supporting Actor, an award for which he would again be nominated in I Never Sang for My Father (1970). In 1972 he won the Oscar for his role as Detective Jimmy "Popeye" Doyle in The French Connection (1971). At 40 years old Hackman was a Hollywood star whose work would rise to new heights with Night Moves (1975) and Bite the Bullet (1975), or fall to new depths with The Poseidon Adventure (1972) and Eureka (1983). Hackman is a versatile actor who can play comedy (the blind man in Young Frankenstein (1974)) or villainy (the evil Lex Luthor in Superman (1978)). He is the doctor who puts his work above people in Extreme Measures (1996) and the captain on the edge of nuclear destruction in Crimson Tide (1995). After initially turning down the role of Little Bill Daggett in Clint Eastwood's Unforgiven (1992), Hackman finally accepted it, as its different slant on the western interested him. For his performance he won the Oscar and Golden Globe and decided that he wasn't tired of westerns after all. He has since appeared in Geronimo: An American Legend (1993), Wyatt Earp (1994), and The Quick and the Dead (1995).708 points- Actor
- Producer
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Ernest Borgnine was born Ermes Effron Borgnino on January 24, 1917 in Hamden, Connecticut. His parents were Anna (Boselli), who had emigrated from Carpi (MO), Italy, and Camillo Borgnino, who had emigrated from Ottiglio (AL), Italy. As an only child, Ernest enjoyed most sports, especially boxing, but took no real interest in acting. At age 18, after graduating from high school in New Haven, and undecided about his future career, he joined the United States Navy, where he stayed for ten years until leaving in 1945. After a few factory jobs, his mother suggested that his forceful personality could make him suitable for a career in acting, and Borgnine promptly enrolled at the Randall School of Drama in Hartford. After completing the course, he joined Robert Porterfield's famous Barter Theatre in Abingdon, Virginia, staying there for four years, undertaking odd jobs and playing every type of role imaginable. His big break came in 1949, when he made his acting debut on Broadway playing a male nurse in "Harvey".
In 1951, Borgnine moved to Los Angeles to pursue a movie career, and made his film debut as Bill Street in The Whistle at Eaton Falls (1951). His career took off in 1953 when he was cast in the role of Sergeant "Fatso" Judson in From Here to Eternity (1953). This memorable performance led to numerous supporting roles as "heavies" in a steady string of dramas and westerns. He played against type in 1955 by securing the lead role of Marty Piletti, a shy and sensitive butcher, in Marty (1955). He won an Academy Award for Best Actor for his performance, despite strong competition from Spencer Tracy, Frank Sinatra, James Dean and James Cagney. Throughout the 1950s, 1960s and 1970s, Borgnine performed memorably in such films as The Catered Affair (1956), Ice Station Zebra (1968) and Emperor of the North (1973). Between 1962 and 1966, he played Lt. Commander Quinton McHale in the popular television series McHale's Navy (1962). In early 1984, he returned to television as Dominic Santini in the action series Airwolf (1984) co-starring Jan-Michael Vincent, and in 1995, he was cast in the comedy series The Single Guy (1995) as doorman Manny Cordoba. He also appeared in several made-for-TV movies.
Ernest Borgnine has often stated that acting was his greatest passion. His amazing 61-year career (1951 - 2012) included appearances in well over 100 feature films and as a regular in three television series, as well as voice-overs in animated films such as All Dogs Go to Heaven 2 (1996), Small Soldiers (1998), and a continued role in the series SpongeBob SquarePants (1999). Between 1973 until his death, Ernest was married to Tova Traesnaes, who heads her own cosmetics company. They lived in Beverly Hills, California, where Ernest assisted his wife between film projects. When not acting, Ernest actively supported numerous charities and spoke tirelessly at benefits throughout the country. He has been awarded several honorary doctorates from colleges across the United States as well as numerous Lifetime Achievement Awards. In 1996, Ernest purchased a bus and traveled across the United States to see the country and meet his many fans. On December 17, 1999, he presented the University of North Alabama with a collection of scripts from his film and television career, due to his long friendship with North Alabama alumnus and actor George Lindsey (died May 6, 2012), who was an artist in residence at North Alabama.
Ernest Borgnine passed away aged 95 on July 8, 2012, at Cedars-Sinai Medical Center in Los Angeles, California, of renal failure. He is survived by his wife Tova, their children and his younger sister Evelyn (1926-2013)708 points- Actor
- Writer
- Additional Crew
Although Red Buttons is best known as a stand-up comic, he is also a successful songwriter, an Academy Award-winning actor (and has been nominated for two Golden Globe awards) and an accomplished singer. Born Aaron Chwatt in New York City's Lower East Side, Buttons (who got his name from a uniform he wore while working as a singing bellhop) started his show-business career singing on street corners as a child. At 16 he got a job as part of a comedy act playing the famed Catskills resort area in upstate New York (his partner was future actor Robert Alda). Buttons worked the burlesque circuit as a comic and even landed a role in a Broadway play, "Vicki", in 1942. He soon joined the U.S. Marine Corps, and in 1943 was picked for a role in Moss Hart's service play "Winged Victory" on Broadway, and soon afterwards journeyed to Hollywood to make the film version. After his discharge from the service he returned to Broadway, both in plays and as a comic with several big-band orchestras. He was successful enough that he got his own TV series, The Red Buttons Show (1952), on CBS. It lasted three years and won Buttons an Emmy for Best Comedian. He worked steadily for the next several years, and in 1957 got his big film break in the drama Sayonara (1957) with Marlon Brando, in which he played an American soldier stationed in Japan who struggled against the societal and racist pressures of both American and Japanese cultures because of his love for a Japanese woman. His performance garnered him an Academy Award, and more film roles followed. He played a paratrooper in The Longest Day (1962), was nominated for a Golden Globe for Harlow (1965) and again for They Shoot Horses, Don't They? (1969). He had a part in the TV series The Double Life of Henry Phyfe (1966) and has done pretty much every kind of TV show there is, from variety to comedy to soap operas. He gained further renown in the 1970s for his appearances on the "Dean Martin Celebrity Roast" where he performed his "Never Got a Dinner" act to great acclaim. He has played Las Vegas for years, has a star on Hollywood Boulevard (corner of Hollywood and Vine) and has appeared in numerous telethons and charitable events, for which he has been honored by such organizations as the Friars Club and the City of Hope Hospital.708 points- Actor
- Producer
- Director
Roderick Andrew Anthony Jude McDowall was born in Herne Hill, London, to Winifriede Lucinda (Corcoran), an Irish-born aspiring actress, and Thomas Andrew McDowall, a merchant seaman of Scottish descent. Young Roddy was enrolled in elocution courses at age five. By age 10, he had appeared in his first film, Murder in the Family (1938), playing Peter Osborne, the younger brother of sisters played by Jessica Tandy and Glynis Johns.
His mother brought Roddy and his sister to the U.S. at the beginning of World War II, and he soon got the part of "Huw", the youngest child in a family of Welsh coal miners, in John Ford's How Green Was My Valley (1941), acting alongside Walter Pidgeon, Maureen O'Hara and Donald Crisp in the film that won that year's best film Oscar. He went on to many other child roles, in films like My Friend Flicka (1943) and Lassie Come Home (1943) until, at age eighteen, he moved to New York, where he played a long series of successful stage roles, both on Broadway and in such venues as Connecticut's Stratford Festival, where he did Shakespeare. He became a naturalized United States citizen in 1949.
In addition to making many more movies (over 150), McDowall acted in television, developed an extensive collection of movies and Hollywood memorabilia, and published five acclaimed books of his own photography. He died at his Los Angeles home, aged 70, of cancer. He never married and had no children.708 points- Actor
- Soundtrack
A bold, blunt instrument of hatred and violence at the onset of his film career, Peter Boyle recoiled from that repugnant, politically incorrect "working class" image to eventually play gruff, gentler bears and even comedy monsters in a career that lasted four decades.
He was born on October 18, 1935, in Norristown, Pennsylvania, to Alice (Lewis) and Francis Xavier Boyle. He eventually moved to Philadelphia, where his father was a sought-after local TV personality and children's show host. His paternal grandparents were Irish immigrants, and his mother was of mostly French and British Isles descent. Following a solid Catholic upbringing (he attended a Catholic high school), Peter was a sensitive youth and joined the Christian Brothers religious order at one point while attending La Salle University in Philadelphia. He left the monastery after only a few years when he "lost" his calling.
Bent on an acting career, Boyle initially studied with guru Uta Hagen in New York. The tall (6' 2"), hulking, prematurely bald actor wannabe struggled through a variety of odd jobs (postal worker, waiter, bouncer) while simultaneously building up his credits on stage and waiting for that first big break. Things started progressing for him after appearing in the national company of "The Odd Couple" in 1965 and landing TV commercials on the sly. In the late 60s he joined Chicago's Second City improv group and made his Broadway debut as a replacement for Peter Bonerz in Paul Sills' "Story Theatre" (1971) (Sills was the founder of Second City). Peter's breakout film role did not come without controversy as the hateful, hardhat-donning bigot-turned-murderer Joe (1970) in a tense, violence-prone film directed by John G. Avildsen. The role led to major notoriety, however, and some daunting supporting parts in T.R. Baskin (1971), Slither (1973) and as Robert Redford's calculating campaign manager in The Candidate (1972). During this time his political radicalism found a visible platform after joining Jane Fonda and Donald Sutherland on anti-war crusades, which would include the anti-establishment picture Steelyard Blues (1973). This period also saw the forging of a strong friendship with former Beatle John Lennon.
Destined to be cast as monstrous undesirables throughout much of his career, he played a monster of another sort in his early film days, and thus avoided a complete stereotype as a film abhorrent. His hilarious, sexually potent Frankenstein's Monster in the cult Mel Brooks spoof Young Frankenstein (1974) saw him in a sympathetic and certainly more humorous vein. His creature's first public viewing, in which Boyle shares an adroit tap-dancing scene with "creator" Gene Wilder in full Fred Astaire regalia, was a show-stopping audience pleaser. Late 70s filmgoers continued to witness Boyle in seamy, urban settings with brutish roles in Taxi Driver (1976) and Hardcore (1979). At the same time he addressed several TV mini-movie roles with the same brilliant darkness such as his Senator Joe McCarthy in Tail Gunner Joe (1977), for which he received an Emmy nomination, and his murderous, knife-wielding Fatso in the miniseries remake of From Here to Eternity (1979).
While the following decade found Peter in predominantly less noteworthy filming and a short-lived TV series lead as remote cop Joe Bash (1986), the 90s brought him Emmy glory (for a guest episode on The X-Files (1993)). Despite a blood clot-induced stroke in 1990 that impaired his speech for six months, he ventured on and capped his enviable career on TV wielding funny but crass one-liners in the "Archie Bunker" mold on the long-running sitcom Everybody Loves Raymond (1996). A major Emmy blunder had Boyle earning seven nominations for his Frank Barrone character without a win, the only prime player on the show unhonored. He survived a heart attack while on the set of "Everybody Loves Raymond" in 1999, but managed to return full time for the remainder of the series' run through 2005.
Following a superb turn as Billy Bob Thornton's unrepentantly racist father in the sobering Oscar-winner Monster's Ball (2001), the remainder of his films were primarily situated in frivolous comedy fare such as The Adventures of Pluto Nash (2002), The Santa Clause 2 (2002), Scooby-Doo 2: Monsters Unleashed (2004), and The Santa Clause 3: The Escape Clause (2006), typically playing cranky curmudgeons. Boyle died of multiple myeloma (bone-marrow cancer) and heart disease at New York Presbyterian Hospital in 2006, and was survived by his wife Lorraine and two children. He was 71.708 points- Actor
- Soundtrack
Two-time Oscar-winner Melvyn Douglas was one of America's finest actors, and would enjoy cinema immortality if for no other reason than his being the man who made Greta Garbo laugh in Ernst Lubitsch's classic comedy Ninotchka (1939), but he was much, much more.
Melvyn Douglas was born Melvyn Edouard Hesselberg on April 5, 1901, in Macon, Georgia. His father, Edouard Gregory Hesselberg, a noted concert pianist and composer, was a Latvian Jewish emigrant, from Riga. His mother, Lena Priscilla (Shackelford), from Clark Furnace, Tennessee, was from a family with deep roots in the United States, and the daughter of Col. George Taliaferro Shackelford. Melvyn's father supported his family by teaching music at university-based conservatories. Melvyn dropped out of high school to pursue his dream of becoming an actor.
He made his Broadway debut in the drama "A Free Soul " at the Playhouse Theatre on January 12, 1928, playing the role of a raffish gangster (a part that would later make Clark Gable's career when the play was adapted to the screen as A Free Soul (1931) ). "A Free Soul" was a modest success, running for 100 performances. His next three plays were flops: "Back Here" and "Now-a-Days" each lasted one week, while "Recapture" lasted all of three before closing. He was much luckier with his next play, "Tonight or Never," which opened on November 18, 1930, at legendary producer David Belasco's theater. Not only did the play run for 232 performances, but Douglas met the woman who would be his wife of nearly 50 years: his co-star, Helen Gahagan. They were married in 1931.
The movies came a-calling in 1932 and Douglas had the unique pleasure of assaying completely different characters in widely divergent films. He first appeared opposite his future Ninotchka (1939) co-star Greta Garbo in the screen adaptation of Luigi Pirandello's As You Desire Me (1932), proving himself a sophisticated leading man as, aside from his first-rate performance, he was able to shine in the light thrown off by Garbo, the cinema's greatest star. In typical Hollywood fashion, however, this terrific performance in a top-rank film from a major studio was balanced by his appearance in a low-budget horror film for the independent Mayfair studio, The Vampire Bat (1933). However, the leading man won out, and that's how he first came to fame in the 1930s in such films as She Married Her Boss (1935) and Garbo's final film, Two-Faced Woman (1941). Douglas had shown he could play both straight drama and light comedy.
Douglas was a great liberal and was a pillar of the anti-Nazi Popular Front in the Hollywood of the 1930s. A big supporter of President Franklin D. Roosevelt, he and his wife Helen were invited to spend a night at the White House in November 1939. Douglas' leftism would come back to haunt him after the death of FDR.
Well-connected with the Roosevelt White House, Douglas served as a director of the Arts Council in the Office of Civilian Defense before joining the Army during World War II. He was very active in politics and was one of the leading lights of the anti-Communist left in the late 1930s and early 1940s. Helen Gahagan Douglas, who also was politically active, was elected to Congress from the 14th District in Los Angeles in 1944, the first of three terms.
Returning to films after the war, Douglas' screen persona evolved and he took on more mature roles, in such films as The Sea of Grass (1947) (Elia Kazan's directorial debut) and Mr. Blandings Builds His Dream House (1948). His political past caught up with him, however, in the late 1940s, and he - along with fellow liberals Edward G. Robinson and Henry Fonda (a registered Republican!) - were "gray-listed" (not explicitly blacklisted, they just weren't offered any work).
Then there was the theater. Douglas made many appearances on Broadway in the 1940s and 1950s, including in a notable 1959 flop, making his musical debut playing Captain Boyle in Marc Blitzstein's "Juno." The musical, based on Sean O'Casey's play "Juno and the Paycock", closed in less than three weeks. Douglas was much luckier in his next trip to the post: he won a Tony for his Broadway lead role in the 1960 play "The Best Man" by Gore Vidal.
Douglas' evolution into a premier character actor was completed by the early 1960s. His years of movie exile seemed to deepen him, making him richer, and he returned to the big screen a more authoritative actor. For his second role after coming off of the graylist, he won a Best Supporting Actor Oscar as Paul Newman's father in Hud (1963). Other films in which he shined were Paddy Chayefsky's The Americanization of Emily (1964), CBS Playhouse (1967) (a 1967 episode directed by George Schaefer called "Do Not Go Gentle Into That Good Night", for which he won a Best Actor Emmy) and The Candidate (1972), in which he played Robert Redford's father. It was for his performance playing Gene Hackman's father that Douglas got his sole Best Actor Academy Award nod, in I Never Sang for My Father (1970). He had a career renaissance in the late 1970s, appearing in The Seduction of Joe Tynan (1979), Being There (1979) and Ghost Story (1981). He won his second Oscar for "Being There."
Helen Gahagan Douglas died in 1980 and Melvyn followed her in 1981. He was 80 years old.708 points- Leszek Teleszynski was born on 21 May 1947 in Kraków, Malopolskie, Poland. He is an actor, known for Television Theater (1953), The Devil (1972) and The Third Part of the Night (1971).706 points
- Actor
- Director
- Writer
Wojciech Pszoniak was born on 2 May 1942 in Lwów, Lwowskie, Poland [now Lviv, Ukraine]. He was an actor and director, known for Danton (1983), The Promised Land (1975) and Korczak (1990). He was married to Barbara. He died on 19 October 2020 in Warsaw, Poland.706 points- Actor
- Director
- Producer
George C. Scott was an immensely talented actor, a star of the big screen, stage and television. He was born on October 18, 1927 in Wise, Virginia, to Helena Agnes (Slemp) and George Dewey Scott. At the age of eight, his mother died, and his father, an executive at Buick, raised him. In 1945, he joined the United States Marines and spent four years with them, no doubt an inspiration for portraying General George S. Patton years later. When Scott left the Marines, he enrolled in journalism classes at the University of Missouri, but it was while performing in a play there that the acting bug bit him. He has said it "clicked, just like tumblers in a safe."
It was in 1957 that he landed a role in "Richard III" in New York City. The play was a success and brought the young actor to the attention of critics. He soon began to get work on television, mostly in live broadcasts of plays, and he landed the role of the crafty prosecutor in Anatomy of a Murder (1959). It was this role that got him his first Oscar nomination, for Best Supporting Actor.
However, George and Oscar wouldn't actually become the best of friends. In fact, he felt the whole process forced actors to become stars and that the ceremony was little more than a "meat market." In 1962, he was nominated again for Best Supporting Actor, this time opposite Paul Newman in The Hustler (1961), but sent a message saying "No, thanks" and refused the nomination.
However, whether he was being temperamental or simply stubborn in his opinion of awards, it did not seem to stop him from being nominated in the future. "Anatomy" and "The Hustler" were followed by the clever mystery The List of Adrian Messenger (1963), in which he starred alongside Kirk Douglas, Robert Mitchum and cameos by major stars of the time, including Burt Lancaster and Frank Sinatra. It's a must-see, directed by John Huston with tongue deeply in cheek.
The following year, Scott starred as General "Buck" Turgidson in Stanley Kubrick's comical anti-war film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). This became one of his favorites and he often said that he felt guilty getting paid for it, as he had so much fun making it. Another comedy followed, The Flim-Flam Man (1967), with Scott playing a smooth-talking con artist who takes on an apprentice whom he soon discovers has too many morals.
Three years followed, with some smaller television movies, before he got the role for which he will always be identified: the aforementioned General Patton in Patton (1970). This was a war movie that came at the end of a decade where anti-war protests had rocked a nation and become a symbol of youth dissatisfied with what was expected of them. Still, the actor's portrayal of this aggressive military icon actually drew sympathy for the controversial hero. He won the Oscar this time, but stayed at home watching hockey instead.
A pair of films that he made in the early 1980s were outstanding. The first of these was The Changeling (1980), a film often packaged as a horror movie but one that's really more of a supernatural thriller. He plays John Russell, a composer and music professor who loses his wife and daughter in a tragic accident. Seeking solace, he moves into an archaic mansion that had been unoccupied for 12 years. However, a child-like presence seems to be sharing the house with him and trying to share its secrets with him. From learning of the house's past, he discovers its horrific secret of long ago, a secret that the presence will no longer allow to be kept.
Then he starred -- along with a young cast of then largely unknowns, including Timothy Hutton, Sean Penn and Tom Cruise -- in the intense drama Taps (1981). He played the head of a military academy that's suddenly slated for destruction when the property is sold to local developers who plan to build condos. The students take over the academy when they feel that the regular channels are closed to them.
Scott kept up in films, television and on stage in the later years of his life (Broadway dimmed its lights for one minute on the night of his death). Among his projects were playing Ebenezer Scrooge in a worthy television update of A Christmas Carol (1984), an acclaimed performance on Broadway of "Death of a Salesman", the voice of McLeach in Disney's The Rescuers Down Under (1990) and co-starring roles in television remakes of two classic films, 12 Angry Men (1997) and Inherit the Wind (1999), to name just a few. After his death the accolades poured in, with Jack Lemmon saying, "George was truly one of the greatest and most generous actors I have ever known," while Tony Randall called him "the greatest actor in American history".703 points