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1-50 of 2,926
- Actor
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Handsome, chisel-jawed character actor Kevin McCarthy appeared in nearly 100 movies in a career that spanned seven decades. He also had some starring roles, most notably the horror cult classic Invasion of the Body Snatchers (1956). He played the disillusioned son Biff Loman in the 1951 screen adaptation of Arthur Miller's classic Death of a Salesman (1951), for which he was nominated for a Best Supporting Actor Oscar and won the Golden Globe Award for most promising newcomer (male).
He is the younger brother of the late author Mary McCarthy and distant cousin of former U.S. Senator and presidential candidate Eugene McCarthy.
McCarthy was orphaned at the age of four when both his parents died in the great flu epidemic of 1918. He was raised by his father's parents in Minneapolis, Minnesota, and later by an uncle and aunt. He graduated from Campion Jesuit High School in Prairie du Chien, Wisconsin, in 1932. He attended the School of Foreign Service at Georgetown University, Washington, DC, in 1933, intending to enter into the diplomatic field. He also attended the University of Minnesota, Minneapolis, in 1936 and the Actors Studio New York, New York. He had roles in two short-lived TV series: The Survivors (1969), with Lana Turner, and Flamingo Road (1980) as Claude Weldon, the father of the character played by Morgan Fairchild.
The stage-trained McCarthy frequently appeared on Broadway. He starred as Jerry in "Two for the Seesaw" (1959) and as Van Ackerman in "Advise and Consent" (1960). He also played President Harry S. Truman in the one-man show "Give 'Em Hell, Harry!"
McCarthy showed no signs of retiring as late as June 2007. McCarthy acted in the film The Ghastly Love of Johnny X (2012), playing the role of the Grand Inquisitor, at age 93, which was finally released in 2011. He died of pneumonia on September 11, 2010.- Actor
- Producer
- Soundtrack
Tyrone Power was one of the great romantic swashbuckling stars of the mid-twentieth century, and the third Tyrone Power of four in a famed acting dynasty reaching back to the eighteenth century. His great-grandfather was the first Tyrone Power (1795-1841), a famed Irish comedian. His father, known to historians as Tyrone Power Sr., but to his contemporaries as either Tyrone Power or Tyrone Power the Younger, was a huge star in the theater (and later in films) in both classical and modern roles. His mother, Helen Emma "Patia" (née Reaume), (Mrs. Tyrone Power), was also a Shakespearean actress as well as a respected dramatic coach.
Tyrone Edmund Power, Jr., (also called Tyrone Power III) was born at his mother's home of Cincinnati, Ohio, in 1914. His ancestry included English, Irish, German, French Huguenot, and French-Canadian. A frail, sickly child, he was taken by his parents to the warmer climate of southern California. After his parents' divorce, he and his sister Anne Power returned to Cincinnati with their mother. There he attended school while developing an obsession with acting. Although raised by his mother, he corresponded with his father, who encouraged his acting dreams. He was a supernumerary in his father's stage production of 'The Merchant of Venice' in Chicago and held him as he died suddenly of a heart attack later that year.
Startlingly handsome, young Tyrone nevertheless struggled to find work in Hollywood. He appeared in a few small roles, then went east to do stage work. A screen test led to a contract at 20th Century Fox in 1936, and he quickly progressed to leading roles. Within a year or so, he was one of Fox's leading stars, playing in contemporary and period pieces with ease. Most of his roles were colorful without being deep, and his swordplay was more praised than his wordplay. He served in the Marine Corps in World War II as a transport pilot, and he saw action in the Pacific Theater of operations.
After the war, he got his best reviews for an atypical part as a downward-spiraling con-man in Nightmare Alley (1947). Although he remained a huge star, much of his postwar work was unremarkable. He continued to do notable stage work and also began producing films. Following a fine performance in Billy Wilder's Witness for the Prosecution (1957), Power began production on Solomon and Sheba (1959). Halfway through shooting, he suffered a heart attack during a dueling scene with George Sanders and died before reaching a hospital.
His three children, including his namesake, Tyrone William Power IV (known professionally as Tyrone Power Jr.), have all followed him in the family acting tradition.- Born in Poughkeepsie, New York, Louis Albert Denninger Jr. was the son of a garment manufacturer who relocated and set up shop in Los Angeles when Louis Jr. was 18 months old. After finishing school, Denninger enrolled at Woodbury Business College and majored in business and accounting, graduating cum laude with a master's in business administration. But Denninger, who never liked accounting, started becoming involved in little theater groups as a hobby and was encouraged to compete in a radio contest called "Do You Want to Be an Actor?", winning a screen test at Warner Brothers. Warners wasn't interested in him because he looked too much like another well-known actor under contract, but by now he had his heart set on a movie career. Denninger was soon signed by Paramount, who insisted on changing his name (to "Richard Denning") because his real name, Denninger, sounded too much like gunman John Dillinger's. He retired and moved to Maui but was asked to play the governor in TV's Hawaii Five-O (1968). He agreed to play the governor as long as he didn't have to be in every episode. It ran for 12 years, ending in 1980. Five years later, his actress-wife Evelyn Ankers died at their up-country Maui home (cancer). "I'm very grateful for a career that wasn't spectacular, but always made a good living or filled in "in-between," Denning said of his acting days. "I have wonderful memories of it, but I don't really miss it."
- Actress
- Producer
- Additional Crew
Hedy Lamarr, the woman many critics and fans alike regard as the most beautiful ever to appear in films, was born Hedwig Eva Maria Kiesler in Vienna, Austria. She was the daughter of Gertrud (Lichtwitz), from Budapest, and Emil Kiesler, a banker from Lemberg (now known as Lviv). Her parents were both from Jewish families. Hedwig had a calm childhood, but it was cinema that fascinated her. By the time she was a teenager, she decided to drop out of school and seek fame as an actress, and was a student of theater director Max Reinhardt in Berlin. Her first role was a bit part in the German film Geld auf der Straße (1930) (aka "Money on the Street") in 1930. She was attractive and talented enough to be in three more German productions in 1931, but it would be her fifth film that catapulted her to worldwide fame. In 1932 she appeared in a Czech film called Ekstase (US title: "Ecstasy") and had made the gutsy move to appear nude. It's the story of a young girl who is married to a gentleman much older than she, but she winds up falling in love with a young soldier. The film's nude scenes created a sensation all over the world. The scenes, very tame by today's standards, caused the film to be banned by the U.S. government at the time.
Hedy soon married Fritz Mandl, a munitions manufacturer and a prominent Austrofascist. He attempted to buy up all the prints of "Ecstasy" he could lay his hands on (Italy's dictator, Benito Mussolini, had a copy but refused to sell it to Mandl), but to no avail (there are prints floating around the world today). The notoriety of the film brought Hollywood to her door. She was brought to the attention of MGM mogul Louis B. Mayer, who signed her to a contract (a notorious prude when it came to his studio's films, Mayer signed her against his better judgment, but the money he knew her notoriety would bring in to the studio overrode any moral concerns he may have had). However, he insisted she change her name and make good, wholesome films.
Hedy starred in a series of exotic adventure epics. She made her American film debut as Gaby in Algiers (1938). This was followed a year later by Lady of the Tropics (1939). In 1942, she played the plum role of Tondelayo in the classic White Cargo (1942). After World War II, her career began to decline, and MGM decided it would be in the interest of all concerned if her contract were not renewed. Unfortunately for Hedy, she turned down the leads in both Gaslight (1940) and Casablanca (1942), both of which would have cemented her standing in the minds of the American public. In 1949, she starred as Delilah opposite Victor Mature's Samson in Cecil B. DeMille's epic Samson and Delilah (1949). This proved to be Paramount Pictures' then most profitable movie to date, bringing in $12 million in rental from theaters. The film's success led to more parts, but it was not enough to ease her financial crunch. She made only six more films between 1949 and 1957, the last being The Female Animal (1958).
Hedy retired to Florida. She died there, in the city of Casselberry, on January 19, 2000.- Actor
- Writer
- Soundtrack
Alec Guinness was an English actor of stage and screen, his career spanning over sixty years. His best known screen works are his starring roles in several of the Ealing comedies between 1949 and 1957 (most notably as eight members of the same family in Kind Hearts and Coronets (1949), his Oscar-nominated turn as bank clerk turned bullion robber in The Lavender Hill Mob (1951), an inventor who never gives up in The Man in the White Suit (1951), and as one of five oddball criminals planning a bank robbery in The Ladykillers (1955)); his six collaborations over 38 years with director David Lean: Herbert Pocket in Great Expectations (1946), Fagin in Oliver Twist (1948), Col. Nicholson in The Bridge on the River Kwai (1957), (for which he won the Academy Award for Best Actor), Prince Faisal in Lawrence of Arabia (1962), General Yevgraf Zhivago in Doctor Zhivago (1965), and Professor Godbole in A Passage to India (1984); his role as Obi-Wan Kenobi in George Lucas' original Star Wars trilogy (for which he received an Academy Award nomination for Best Supporting Actor); and his starring role as George Smiley in the television adaptations of John le Carré's Tinker Tailor Soldier Spy (1979) and Smiley's People (1982).
His gallery of notable characters (both fictional and historical) also includes Prime Minister Benjamin Disraeli in The Mudlark (1950), an enterprising rogue in The Promoter (1952), a sleuthing priest in The Detective (1954), an eccentric London artist in The Horse's Mouth (1958) (for which he was Oscar-nominated as a screenwriter), a wayward Scottish army officer in Tunes of Glory (1960), the ghost of Jacob Marley in Scrooge (1970), King Charles I in Cromwell (1970), the title role in Hitler: The Last Ten Days (1973), a blind butler in Murder by Death (1976), a survivor of the Titanic disaster in Raise the Titanic (1980), and a return to Dickens' territory (and a final Oscar nomination) as William Dorrit in Little Dorrit (1987).
In 1959, he was knighted by Queen Elizabeth II for services to the arts. In 1980 he received the Academy Honorary Award for lifetime achievement.
Guinness died on 5 August 2000, from liver cancer, at Midhurst in West Sussex.- Actor
- Soundtrack
Ray Walston started his acting career as a spear carrier with a local stock company. When the family moved to Houston, Texas, Walston's father wanted to teach him the oil business, but Walston instead joined a traveling repertory company (selling tickets as well as acting). He went on to associate with Margo Jones at the Houston Civic Theater for six years, then spent three seasons with the Cleveland Playhouse before arriving in New York in 1945. He has won a Tony Award for his performance as the Devil in Broadway's "Damn Yankees", two Emmy Awards for Picket Fences (1992), and become a household name playing the extraterrestrial "Uncle Martin" on My Favorite Martian (1963). Ray Walston died at age 86 of lupus on New Year's Day 2001 in Beverly Hills, California.- Actor
- Additional Crew
- Director
Jackie Coogan was born into a family of vaudevillians; his father was a dancer and his mother had been a child star. On the stage by age 4, Jackie was touring at age 5 with his family in Los Angeles, California.
While performing on the stage, he was spotted by Charles Chaplin, who then and there planned a film in which he and Jackie would star. To test Jackie, Chaplin first gave him a small part in A Day's Pleasure (1919), which proved that he had a screen presence. The movie that Chaplin planned that day was The Kid (1921), where the Tramp would raise Jackie and then lose him. The movie was very successful and Jackie would play a child in a number of movies and tour with his father on the stage.
By 1923, when he made Daddy (1923), he was one of the highest- paid stars in Hollywood. He would leave First National for MGM where they put him into Long Live the King (1923). By 1927, at age 13, Coogan had grown up on the screen and his career was going through a downturn. His popular film career would end with the classic tales of Tom Sawyer (1930) and Huckleberry Finn (1931).
In 1935, his father died and his mother married Arthur Bernstein, who was his business manager. When he wanted the money that he made as a child star in the 1920s, his mother and stepfather refused his request and Jackie filed suit for the approximately $4 million that he had made. Under California law at the time, he had no rights to the money he made as a child, and he was awarded only $126,000 in 1939. Because of the public uproar, the California Legislature passed the Child Actors Bill, also known as the Coogan Act, which would set up a trust fund for any child actor and protect his earnings.
In 1937, Jackie married Betty Grable; the marriage lasted 3 years. During World War II, he served in the Army; he returned to Hollywood after the war. Unable to restart his career, he worked in B-movies, mostly in bit parts and usually playing the heavy. In the 1950s he started to appear on television, and he acted in as many shows as he could. By the 1960s he would be in two completely different television comedy series.The first one was McKeever and the Colonel (1962), where he played Sgt. Barnes in a military school from 1962 to 1963. The second series was the classic The Addams Family (1964), where he played Uncle Fester from 1964 to 1966. After that, he continued to make appearances on television shows and a handful of movies. He died of a heart attack in 1984.- Actor
- Producer
- Director
Richard Widmark established himself as an icon of American cinema with his debut in the 1947 film noir Kiss of Death (1947), in which he won a Best Supporting Actor Academy Award nomination as the killer Tommy Udo. Kiss of Death (1947) and other noir thrillers established Widmark as part of a new generation of American movie actors who became stars in the post-World War II era. With fellow post-War stars Kirk Douglas and Robert Mitchum, Widmark brought a new kind of character to the screen in his character leads and supporting parts: a hard-boiled type who does not actively court the sympathy of the audience. Widmark was not afraid to play deeply troubled, deeply conflicted, or just downright deeply corrupt characters.
After his debut, Widmark would work steadily until he retired at the age of 76 in 1990, primarily as a character lead. His stardom would peak around the time he played the U.S. prosecutor in Judgment at Nuremberg (1961) as the 1950s segued into the 1960s, but he would continue to act for another 30 years.
Richard Weedt Widmark was born in Sunrise Township, Minnesota, to Ethel Mae (Barr) and Carl Henry Widmark. His father was of Swedish descent and his mother of English and Scottish ancestry. He has said that he loved the movies from his boyhood, claiming, "I've been a movie bug since I was 4. My grandmother used to take me". The teenaged Widmark continued to go to the movies and was thrilled by Dracula (1931) and Frankenstein (1931). "I thought Boris Karloff was great", Widmark said. Although he loved the movies and excelled at public speaking while attending high school, Widmark attended Lake Forest College with the idea of becoming a lawyer. However, he won the lead role in a college production of, fittingly enough, the play "Counsellor-at-Law", and the acting bug bit deep. After taking his bachelor of arts degree in 1936, he stayed on at Lake Forest as the Assistant Director of Speech and Drama. However, he soon quit the job and moved to New York to become an actor, and by 1938 he was appearing on radio in "Aunt Jenny's Real Life Stories". He made his Broadway debut in 1943 in the play "Kiss and Tell" and continued to appear on stage in roles that were light-years away from the tough cookies he would play in his early movies.
After World War II, he was signed by 20th Century-Fox to a seven-year contract. After seeing his screen test for the role of Tommy Udo, 20th Century-Fox boss Darryl F. Zanuck insisted that the slight, blonde Widmark - no one's idea of a heavy, particularly after his stage work - be cast as the psychopath in Kiss of Death (1947), which had been prepared as a Victor Mature vehicle. Even though the role was small, Widmark stole the picture. The publicity department at 20th Century-Fox recommended that exhibitors market the film by concentrating on thumping the tub for their new antihero. "Sell Richard Widmark" advised the studio's publicity manual that an alert 20th Century-Fox sent to theater owners. The manual told local exhibitors to engage a job printer to have "wanted" posters featuring Widmark's face printed and pasted up. He won a Golden Globe and an Oscar nod for the part, which led to an early bout with typecasting at the studio. Widmark played psychotics in The Street with No Name (1948) and Road House (1948) and held his own against new Fox superstar Gregory Peck in the William A. Wellman western Yellow Sky (1948), playing the villain, of course. When his pressuring the studio to let him play other parts paid off, his appearance as a sailor in Down to the Sea in Ships (1949) made headlines: Life magazine's March 28, 1949, issue featured a three-page spread of the movie headlined "Widmark the Movie Villain Goes Straight". He was popular, having captured the public imagination, and before the decade was out, his hand- and footprints were immortalized in concrete in the court outside Grauman's Chinese Theatre in Hollywood.
The great director Elia Kazan cast Widmark in his thriller Panic in the Streets (1950), not as the heavy (that role went to Jack Palance) but as the physician who tracks down Palance, who has the plague, in tandem with detective Paul Douglas. Widmark was establishing himself as a real presence in the genre that later would be hailed as film noir. Having proved he could handle other roles, Widmark didn't shy away from playing heavies in quality pictures. The soon-to-be-blacklisted director Jules Dassin cast him in one of his greatest roles, as the penny-ante hustler Harry Fabian in Night and the City (1950). Set in London, Widmark's Fabian manages to survive in the jungle of the English demimonde, but is doomed. Widmark was masterful in conveying the desperation of the criminal seeking to control his own fate but who is damned, and this performance also became an icon of film noir. In that same year, he appeared in Oscar-winning writer-director Joseph L. Mankiewicz's No Way Out (1950) as a bigot who instigates a race riot.
As the 1950s progressed, Widmark played in westerns, military vehicles, and his old stand-by genre, the thriller. He appeared with Marilyn Monroe (this time cast as the psycho) in Don't Bother to Knock (1952) and made Pickup on South Street (1953) that same year for director Samuel Fuller. His seven-year contract at Fox was expiring, and Zanuck, who would not renew the deal, cast him in the western Broken Lance (1954) in a decidedly supporting role, billed beneath not only Spencer Tracy but even Robert Wagner and Jean Peters. The film was well respected, and it won an Oscar nomination for best screenplay for the front of Hollywood 10 blacklistee Albert Maltz. Widmark left Fox for the life of a freelance, forming his own company, Heath Productions. He appeared in more westerns, adventures and social dramas and pushed himself as an actor by taking the thankless role of the Dauphin in Otto Preminger's adaptation of George Bernard Shaw's Saint Joan (1957), a notorious flop that didn't bring anyone any honors, neither Preminger, his leading lady Jean Seberg, nor Widmark. In 1960, he was appearing in another notorious production, John Wayne's ode to suicidal patriotism, The Alamo (1960), with the personally liberal Widmark playing Jim Bowie in support of the very conservative Wayne's Davy Crockett. Along with character actor Chill Wills, Widmark arguably was the best thing in the movie.
In 1961, Widmark acquitted himself quite well as the prosecutor in producer-director Stanley Kramer's Judgment at Nuremberg (1961), appearing with the Oscar-nominated Spencer Tracy and the Oscar-winning Maximilian Schell, as well as with superstar Burt Lancaster and acting genius Montgomery Clift and the legendary Judy Garland (the latter two winning Oscar nods for their small roles). Despite being showcased with all this thespian firepower, Widmark's character proved to be the axis on which the drama turned. A little later, Widmark appeared in two westerns directed by the great John Ford, with co-star James Stewart in Two Rode Together (1961) and as the top star in Ford's apologia for Indian genocide, Cheyenne Autumn (1964). On Two Rode Together (1961), Ford feuded with Jimmy Stewart over his hat. Stewart insisted on wearing the same hat he had for a decade of highly successful westerns that had made him one of the top box office stars of the 1950s. Both he and Widmark were hard-of-hearing (as well as balding and in need of help from the makeup department's wigmakers), so Ford would sit far away from them while directing scenes and then give them directions in a barely audible voice. When neither one of the stars could hear their director, Ford theatrically announced to his crew that after over 40 years in the business, he was reduced to directing two deaf toupees. It was testimony to the stature of both Stewart and Widmark as stars that this was as far as Ford's baiting went, as the great director could be extraordinarily cruel.
Widmark continued to co-star in A-pictures through the 1960s. He capped off the decade with one of his finest performances, as the amoral police detective in Don Siegel's gritty cop melodrama Madigan (1968). With Madigan, one can see Widmark's characters as a progression in the evolution of what would become the late 1960s nihilistic antihero, such as those embodied by Clint Eastwood in Siegel's later Dirty Harry (1971). In the 1970s, he continued to make his mark in movies and, beginning in 1971, in television. In movies, he appeared primarily in supporting roles, albeit in highly billed fashion, in such films as Sidney Lumet's Murder on the Orient Express (1974), Robert Aldrich's Twilight's Last Gleaming (1977), and Stanley Kramer's The Domino Principle (1977). He even came back as a heavy, playing the villainous doctor in Coma (1978).
In 1971, in search of better roles, he turned to television, starring as the President of the U.S. in the TV miniseries Vanished (1971). His performance in the role brought Widmark an Emmy nomination. He resurrected the character of Madigan for NBC in six 90-minute episodes that appeared as part of the rotation of "NBC Wednesday Mystery Movie" for the fall 1972 season. Widmark was married for 55 years to playwright Jean Hazlewood, from 1942 until her death in 1997 (they had one child, Anne, who was born in 1945). He lived quietly and avoided the press, saying in 1971, "I think a performer should do his work and then shut up". Los Angeles Times critic Kevin Thomas thought that Widmark should have won an Oscar nomination for his turn in When the Legends Die (1972) playing a former rodeo star tutoring Frederic Forrest's character.
It is surprising to think that Kiss of Death (1947) represented his sole Oscar nomination, but with the rise of respect for film noir around the time his career began tapering off in the '70s, he began to be reevaluated as an actor. Unlike Bogart, who did not live to see his reputation flourish after his death, Widmark became a cult figure well before he retired.- Actor
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His father was an insurance executive; his mother died when he was four. He attended Western Michigan University, then worked as a statistician in Cleveland, where he joined a Shakespeare repertory company. Two years later, he had a minor role in "The American Way" in New York. He was rejected by the army in World War II but volunteered as an ambulance driver in North Africa. He returned to critical acclaim on Broadway (Arthur Miller, Eugene O'Neill). He earned a Tony award for acting ("Finian's Rainbow", 1947) for Best Featured Actor in a Musical. He moved to Los Angeles in 1977 though his movie credits go back to Portrait of Jennie (1948) and Adam's Rib (1949). Among his many television roles were a bank official in his own comedy series, Norby (1955), James Merrick, a heart patient in the episode Heartbeat (1957), the part of Inspector Queen in the Manfred Lee's Ellery Queen (1975) series and of "Digger" Barnes in Dallas (1978). In his last feature film, he played an inquisitive but slightly senile train conductor in the irreverent comedy "Finders Keepers" (1985).- Actress
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A charming, elegant, and exceedingly popular international film star with a gentle, understated beauty, actress Lilli Palmer was born as Lilli Marie Peiser on May 24, 1914, in Posen, Prussia. She was the daughter of Rose Lissman, an Austrian Jewish actress, and Alfred Peiser, a German Jewish surgeon. In addition to her native German, she grew up becoming fluent in French and English as well. Of her two sisters, older sister Irene Prador became an actress and singer in her own right. Lilli studied drama in Berlin and made her theatrical debut there in 1932 at age 18. Within a short time, however, the family was forced to flee their native homeland with the rise of Hitler and settled in Paris. Eventually Lilli moved to England to rebuild the career she had started on stage and film.
She made her British movie debut co-starring in the "B" mystery drama Crime Unlimited (1935), playing the distaff member of a syndicate of jewel thieves who becomes a romantic pawn for a policeman (Esmond Knight) who has infiltrated the crime ring as a plant. Throughout the rest of the decade she upped the value of her name in both "A" and "B" material, notably Alfred Hitchcock's Secret Agent (1936), Silent Barriers (1937) and The Man with 100 Faces (1938) where she provided the usual element of feminine mystery.
Lilli's career took a major upswing during the early to mid 1940s. Several of her pictures centered around the omnipresent war, particularly Thunder Rock (1942), her film career-maker), which starred Michael Redgrave as an anti-fascist journalist who retreats to Canada, and Notorious Gentleman (1945), with Rex Harrison as a idle bounder who sees the error of his ways and becomes a war sacrifice. This was Lilli's first movie with husband Harrison; they married in 1943 and she bore him a son, Carey Harrison, the following year. Carey grew up to became a writer and director.
The family moved to America in 1945 to further their careers. Rex and Lilli became a prominent acting couple, appearing together on the early 50s Broadway stage with "Bell, Book and Candle" (1950), "Venus Observed" (1952) and "The Love of Four Colonels" (1953), the last mentioned directed by Harrison. In movies, they co-starred in the murky crimer The Long Dark Hall (1951) and the vastly superior The Four Poster (1952), which later gave rise to the musical adaptation "I Do! I Do!". Lilli was award the Venice Film Festival Award for this performance and represented herself well with other handsome male acting partners, notably Gary Cooper in her debut American film Cloak and Dagger (1946) and John Garfield in the classic boxing film Body and Soul (1947), leaving audiences enthralled with one of its newer foreign imports. At one point, she was given her own own (short-lived) TV show to host, The Lilli Palmer Show (1951).
Somewhat typecast by this time as heartless cads and opportunists on film, "Sexy Rexy", as husband Harrison was known in the tabloids, developed quite a reputation off-camera as well. A particularly disastrous romance with actress Carole Landis led to that actress's tragic suicide in 1948. Lilli took the high road and came off the better for it in the public's eye. She eventually called it quits, however, with both Harrison and Hollywood and returned to Europe in 1954. In 1956 Lilli filmed Between Time and Eternity (1956) [Between Time and Eternity] and fell in love with handsome Argentine co-star Carlos Thompson, who had developed matinée idol status in Germany. They married in September of 1957, several months after her divorce from Harrison became final. This marriage endured.
Lilli matured gracefully in films, the epitome of poise and class, but she lost any potential for top stardom after leaving Hollywood. She made international productions for the rest of her career, primarily German and French, but they did not live up to her early successes and were not seen all that much outside of Europe. She managed to work, however, opposite a "Who's Who" of European male stars of the time, including Curd Jürgens, James Mason, Louis Jourdan, Jean Gabin, Jean Marais, Jean Sorel, Gérard Philipe and Klaus Kinski. Of those few movies she made in Hollywood, she played the prickly wife of Clark Gable, who has a May-December affair with young Carroll Baker in But Not for Me (1959); was a sparkling and witty standout in the ensemble cast of The Pleasure of His Company (1961); and proved quite moving in the William Holden spy thriller The Counterfeit Traitor (1962). On TV here, she was touchingly effective as Mrs. Frank in a production of The Diary of Anne Frank (1967) with Max von Sydow, and enjoyed one of her last roles in the acclaimed miniseries Peter the Great (1986).
The final decade and a half played out rather routinely with supporting roles in such films as diverse as Oedipus the King (1968), De Sade (1969), and The Boys from Brazil (1978). She demonstrated her writing talents with her popular bestselling biography "Change Lobsters and Dance" in 1975, and later published a novel "The Red Raven" in 1978. Dying of cancer in 1986 at age 71 in Los Angeles, Lilli's surviving second husband Thompson, who had abandoned acting in the late 60s and turned to turned TV writing/producing, committed suicide four years later back in his native Argentina.- Actor
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Despite many a powerful performance, this actor's actor never quite achieved the stardom he deserved. Ultimately, Richard Basehart became best-known to television audiences as Admiral Harriman Nelson, commander of the glass-nosed nuclear submarine 'S.S.R.N Seaview' in Irwin Allen's Voyage to the Bottom of the Sea (1964), shown on ABC from 1964 to 1968. Basehart's distinctively deep, resonant voice also provided narrations in feature films, TV mini-series and for documentaries.
Born in Zanesville, Ohio, on August 14 1914, Basehart was one of four siblings born to a struggling and soon-to-be widowed editor of a local newspaper. Upon leaving college, he worked briefly as a radio announcer and then attempted to follow in his father's journalistic footsteps as a reporter. Controversy over one of his stories led to his departure from the paper and cleared the path to pursue acting as a career. In 1932, Basehart made his theatrical bow with the Wright Players Stock Company in his home town and subsequently spent five years playing varied and interesting roles at the Hedgerow Theatre in Philadelphia. From 1938, he began to work in New York on and off-Broadway. Seven years later he received the New York Drama Critics Circle Best Newcomer Award for "The Hasty Heart", a drama by John Patrick, in which Basehart played a dying Scottish soldier. In 1945, he received his first film offers. When he heard director Bretaigne Windust was seeking an authentic Scot for the lead role in The Hasty Heart, Basehart not only effected an authentic enough burr to win the part, but won also the 1945 New York Critic's Award as the most promising actor of the year. His accent was so good that a visiting leader of a Scottish clan told the actor he knew his clan.
Basehart made his debut on the big screen with Repeat Performance (1947) at Eagle-Lion, a minor film noir with Joan Leslie, followed at Warner Brothers with the Gothic Barbara Stanwyck thriller Cry Wolf (1947). His third picture finally got him critical plaudits for playing a sociopathic killer, relentlessly hunted through drainage tunnels in He Walked by Night (1948), a procedural police drama shot in a semi-documentary style. Variety gave a positive review, commenting "With this role, Basehart establishes himself as one of Hollywood's most talented finds in recent years. He heavily overshadows the rest of the cast..."
It was the first of many charismatic performances in which Basehart would excel at tormented or introverted characters, portraying angst, foreboding or mental anguish. His gallery of characters came to include the notorious Robespierre, chief architect of the Reign of Terror (1949), set during the French Revolution. He was one of the feuding Hatfields in Roseanna McCoy (1949) and in Fourteen Hours (1951) (based on a real 1938 Manhattan suicide) had a tour de force turn as a man perched on the high ledge of an office building threatening to jump. For much of the film's duration, the camera was firmly focused on the actor's face. Basehart later recalled "It was an actor's dream, in which I hogged the camera lens, and the role called on me to act mostly with my eyes, lips and face muscles". The New York Times reviewer Bosley Crowther called his performance 'startling and poignant'.
Eschewing conventional movie stardom, Basehart meticulously selected and varied his roles, avoiding, as he put it, "stereotyping at the expense of not amassing an impressive bank account.'' In the wake of the sudden death of his first wife, Basehart left the U.S. for Italy. In March 1951, he got married a second time (to the actress Valentina Cortese) and appeared in a succession of European movies, playing the ill-fated clown Il Matto in Federico Fellini's classic La Strada (1954); against type, essayed a swashbuckling nobleman reclaiming his titles and estate in Cartouche (1955), and (again for Fellini), played a member of a gang of grifters in The Swindle (1955). He was also ideally cast as the mild-mannered Ishmael in John Huston's excellent version of Moby Dick (1956) and as Ivan, one of The Brothers Karamazov (1958).
By 1960, Basehart's second marriage had ended in divorce and the actor returned to America where he found movie opportunities few and far between. The small screen to some extent reinvigorated his career with numerous series guest appearances and his lengthy stint in the popular Voyage to the Bottom of the Sea. He also received critical praise for his role as Henry Wirtz, commandant of the Confederacy's most infamous prison camp, in the Emmy and Peabody Award-winning television drama The Andersonville Trial (1970).
Not only an active human rights campaigner, Basehart was also strongly opposed to the experimental use of animals. With his third wife Diana Lotery he set up the animal welfare charity, Actors and Others for Animals, in 1971. He died after suffering a series of strokes in Los Angeles on September 17 1984 at the age of 70.- Actor
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An athlete turned actor, Strode was a top-notch decathlete and a football star at UCLA. He became part of Hollywood lore after meeting director John Ford and becoming a part of the Ford "family," appearing in four Ford motion pictures. Strode also played the powerful gladiator who does battle with Kirk Douglas in Spartacus (1960)."- Actor
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Kenneth Gilbert More C.B.E. (20 September 1914 - 12 July 1982) was one of Britain's most successful and highest paid actors of his generation, with a multi award-winning career in theatre, film and television spanning over 4 decades.
At the height of his fame during the 1950's More appeared in some of the most memorable feature films of the decade including Genevieve (1953), Doctor in the House (1954), The Deep Blue Sea (1955), Reach for the Sky (1956), Paradise Lagoon (1957), A Night to Remember (1958), The Sheriff of Fractured Jaw (1958), North West Frontier (1959) and The 39 Steps (1959).
Starting out as the lovable, happy-go-lucky gentleman with boyhood charm and cheerful optimism, he would later refine his acting style into a leading man who could articulate a whole range of emotions in serious dramatic performances. More managed to embody courage and a sense of moral certitude with a relaxed, informal manner that made audiences warm to him immediately.
From very early on in his career More was very conscious of his talents, what parts suited him as an actor and what did not. More would have been the first to admit there were other actors that could better perform the works of Shakespeare than he. More was probably being self-deprecating. He had more range than he sometimes gave himself credit for, but he knew how best to appeal to an audience.
Born in Gerrards Cross, Buckinghamshire, Kenneth More was the son of a civil engineer, a profession he initially pursued but with little success. More was not a trained actor and had not gone into show business to tread the boards. He was merely looking for work and happened to walk past the Windmill Theatre in London's West End one day and saw a sign above the door 'General Manager - Vivian Van Damm'. More had remembered that a man called Van Damm had known his father and so he asked for a job. More was soon a stagehand earning two pounds and ten shillings a week, shifting scenery and helping to get the nude female performers off the stage during their risqué performances. One day he was called upon to help comic Ken Douglas on stage with a sketch, More playing the small part of a Policeman. It was this experience and the subsequent taste of the audience's laughter which made him want to pursue a career in acting. He was soon an actor in his own right appearing on stage as Ken More in comedy sketches. Following 2 years at the Windmill he moved into repertory theatre with seasons at Byker's, Grand Theatre in Newcastle, and the Grand Theatre, Wolverhampton.
With the outbreak of war, and following a stint with the Merchant Navy, More joined Royal Navy cruiser HMS Aurora (R12) . It would end up having the greatest impact on his character and his acting style during wartime. As ship's Action Commentator he found an opportunity to hone his craft as an actor, keeping steady nerves when reporting action during conflict to the crew below decks. He also got on well with his shipmates by helping them to write wonderfully romantic love letters home to their ladies. Aurora would journey across the Atlantic and Mediterranean seeing its fair share of action. Wartime missions aboard Aurora, and later with aircraft carrier HMS Victorious (R38) would lead him to receive medals, including campaign stars for Africa, Italy, the Atlantic and Pacific.
After being demobbed from the Navy More returned to England and signed with agent Harry Dubens, who was seeking actors who had served in the forces. More went into 'The Crimson Harvest' (1946) at the Gateway Theatre in Notting Hill, and it was there that BBC producer Michael Barry saw him and offered him a contract to play in small television roles at the Alexandra Palace to help restart the BBC.
Jenny Laird and John Fernald's 'And No Birds Can Sing' (1946) marked More's West End debut at the Aldwych Theatre, playing the part of the Reverend Arthur Platt. Within a year he was back on stage in 'Power Without Glory' (1947) by Michael Clayton Hutton at the New Lindsey, Notting Hill Gate. It was so well received that it led to a live version being broadcast on the BBC. That same year Noël Coward cast More as a British Resistance Leader in 'Peace in Our Time' at the Lyric Theatre; a story of what might have happened if Britain had lost the Second World War. More and Coward got on well and stayed friends throughout their lives. 1950 saw More in 'The Way Things Go' by Frederick Lonsdale at the Phoenix Theatre, alongside a cast which included Michael Gough, Glynis Johns, Ronald Squire and Janet Burnell.
His first breakthrough came on stage at The Duchess Theatre in 1952 playing the role of Freddie Page alongside Peggy Ashcroft in Terence Rattigan's 'The Deep Blue Sea'. It was noted actor Roland Culver who had put More forward for the part having known Rattigan. The production was an enormous success and Kenneth More received great critical acclaim. He would often cite it as his favourite stage performance.
It was whilst More was performing in 'The Deep Blue Sea' that filmmaker Henry Cornelius came back stage to offer him a part which would change his career forever, the role of Ambrose Claverhouse in a film called Genevieve (1953). Cornelius had remembered More from a screen test he had directed him in for the part of Lt. E.G.R. (Teddy) Evans in Scott of the Antarctic (1948). This had been More's first attempt to break into cinema which had not come to fruition although plenty of film work followed. Cornelius was sure More was the Claverhouse he needed for 'Genevieve' and he was not disappointed. More's perfect comic timing was made for the part and he won the audience immediately making him a rising star overnight. 'Genevieve' was the second most popular movie that year and went onto become a British comedy classic, winning Best British Film at the British Film Academy Awards.
More channelled the same energy and zest for life he had shown as Claverhouse in his next performance as student Doctor Richard Grimsdake in the first of the much-loved Doctor in the House (1954) film series. It was a winning formula becoming the most popular film at the box office in 1954 securing More Best Actor at the British Film Academy Awards.
1955 saw More returning to the role of Freddie Page in a big screen version of Terence Rattigan's The Deep Blue Sea, playing alongside Vivien Leigh. Incidentally, he had brought the role back to life the previous year for BBC Sunday-Night Theatre (1950) series. The screen adaptation was produced by Alexander Korda and directed by Anatole Litvak. More's performance was once again praised by audiences and critics alike, leading to being awarded the prestigious Volpi cup for Best Actor at the Venice Film Festival, as well as nominations for Best Actor at the British Film Academy Awards. Further honours were bestowed by the Variety Club of Great Britain as Most Promising International Star of 1955. He had finally made his mark.
It was a serious leading role initially turned down by Richard Burton which would make More a major star. Playing the legless, real-life fighter pilot Douglas Bader in Reach for the Sky (1956) was the role of a lifetime. He felt the part of Bader was one he was born to play as he mentioned in his autobiography, 'More or Less': "Bader's philosophy was my philosophy. His whole attitude to life was mine." More had met Bader at Gleneagles where they played a round of golf together, Bader winning each time. They got on well which was somewhat surprising in that Bader was not that keen on actors. Not wanting to caricature him More kept his distance whilst preparing for the role, only meeting him on a handful of occasions for dinner with his friend, actor Ronald Squire. 'Reach for the Sky' became a smash hit upon release and the most popular British film of 1956, winning a British Film Academy award for Best Film. Playing Bader also garnered a Best Actor award for More from popular cinema publication, Picturegoer magazine.
'Reach for the Sky' did something much greater for his career, it showed British audiences that Kenneth More was not just suited to comic roles, he had range as a leading man in dramatic performances. In later years More called several of his films 'favourites' in the press, but it is the belief that 'Reach for the Sky' remained his preferred choice and greatest accomplishment on screen.
Hugely popular films The Admirable Crichton (1957), A Night to Remember (1958), The Sheriff of Fractured Jaw (1958), North West Frontier (1959) and The 39 Steps (1959) galvanized his status as one of Britain's most sought-after actors of the decade. Once he was a £5 a week actor in rep, now he was commanding £50,000 a film.
At the height of his fame More was offered several opportunities to go to Hollywood but with the success he was enjoying at home he did not see the point, or even what he had to offer Tinseltown at this juncture.
The 1960s saw More continue as a leading man in Sink the Bismarck! (1960), Loss of Innocence (1961) and We Joined the Navy (1962). He would cite The Comedy Man (1964) as one of his most favourite roles playing down and out middle-aged actor Chick Byrd. This character resonated with him on two levels. The first was how it represented the experiences he had as a struggling young actor, the second was how he was coming to terms with the present, his own age and the shifting trends of the industry. It would be More's last leading role on the silver screen. Further successes on film came but in cameo or supporting roles, including The Longest Day (1962), Oh! What a Lovely War (1969), Battle of Britain (1969), Scrooge (1970) and The Slipper and the Rose: The Story of Cinderella (1976).
More finally achieved worldwide fame as leading man on the small screen in a BBC adaptation of John Galsworthy's The Forsyte Saga (1967). He had been working steadily on television throughout the 1960's in starring roles, but The Forsyte Saga caught the world's imagination and was a huge, phenomenal success. The series managed to achieve that rare cult-like status and helped introduce Kenneth More to a whole new audience, many who had not seen his earlier work. Several years late More took on another famous literary character playing the part of a Catholic priest who was adept at solving mysteries in G.K. Chesterton's Father Brown (1974). The TV Times awarded him Best Actor for his performance.
Kenneth More had returned to the theatre as early as 1963, playing the part of Peter Pounce alongside Celia Johnson in Giles Cooper's 'Out of the Crocodile' at the Phoenix Theatre. A year later he appeared in a musical version of 'The Admirable Crichton' co-starring with Millicent Martin in 'Our Man Crichton' at the Shaftesbury Theatre. By the end of the 1960s he had received great critical praise as Hugh in a production of 'The Secretary Bird' (1968) by William Douglas-Home at the Savoy Theatre. It turned out to be the biggest stage success of his career. Terence Rattigan's 'The Winslow Boy' (1970), Alan Bennett's award-winning 'Getting On' (1971), Jeremy Kingston's 'Sign of the Times' (1973) and Frederick Lonsdale's 'On Approval' (1977) followed, all of which reinforced More's popularity in his later years.
He was made a CBE (Commander of the Most Excellent Order of the British Empire) in the Queen's New Year's Honours list of 1970. The Kenneth More Theatre, a regional playhouse named in his honour opened in Redbridge in 1974. The Variety Club of Great Britain bestowed More with a special silver heart in 1975 for 40 years in show business. He had been a great supporter of the club over the years taking part in a great deal of charitable events. A special, televised ceremony was held in the Lancaster ballroom of the Savoy Hotel and was attended by many of the industry's best-known names, including Sir. Douglas Bader who More had remained friends with throughout the years.
1978 saw the release of his autobiography 'More or Less', reported to have sold 100,000 copies almost immediately upon release. It received widespread critical and public praise and showed that his appeal had not diminished after 4 decades in the business, despite how times had changed. More was considered an 'institution in British entertainment' according to presenter Michael Parkinson whilst introducing him on his chat show in 1978.
More announced his retirement in 1980 due to illness, at the time he was diagnosed with Parkinson's. It is now very likely that he was suffering from Multiple System Atrophy (MSA), due in part to the age of onset and the speed at which the condition progressed. Kenneth More passed away on July 12th, 1982. His wife Angela Douglas was by his side having nursed him in his final years.
Kenneth More's memorial service was held at St Martin-in-the-Fields on 20 September 1982, which also marked his birthday. The service was packed with family and friends alike, including Lauren Bacall, Dame Anna Neagle and Lady Joan Bader, widow of Sir Douglas Bader who had passed away the same year. A plaque was erected at St. Paul's Church Covent Garden, known more commonly as the Actor's Church.
It is almost 40 years since his passing, yet Kenneth More's performances have endured, continuing to screen worldwide on television and home entertainment. What greater legacy can there be for an actor than to be able to continue to thrill audiences long after one has taken their final bow.- Actor
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George Reeves was born George Keefer Brewer in Woolstock, Iowa, to Helen Roberta (Lescher) and Donald C. Brewer. He was of German, English, and Scottish descent. Following his parents' divorce and his mother's remarriage to Frank J. Bessolo, Reeves was raised in Pasadena, California, and educated at Pasadena Junior College.
He was a skilled amateur boxer and musician. He interned as an actor at the famed Pasadena Playhouse, performed in dozens of plays, and was discovered there by casting director Maxwell Arnow. He was cast as Stuart Tarleton in Gone with the Wind (1939). While shooting the film, he appeared in another play at the Pasadena Playhouse and was seen there and signed by Warner Bros. studios. Over the next ten years he was contracted to Warners, Fox, and Paramount.
He achieved near-stardom as the male lead in So Proudly We Hail! (1943), but war service interrupted his career, and after he returned it never regained the same level. While in the Army Air Corps he appeared on Broadway in "Winged Victory," then made training films.
Career difficulties after the war led him to move to New York for live television. It was television where he achieved the kind of fame that had eluded him in films, as he was cast in the lead of the now-iconic Adventures of Superman (1952). He got a few film roles in the early 1950s, but he was mostly typecast as Superman, and other acting jobs soon dried up. His career had slid to the point where he was considering an attempt at exhibition wrestling when he committed suicide by shooting himself.
Controversy still surrounds his death, due mainly to the fact of his longtime affair with Toni Mannix, the wife of MGM executive E.J. Mannix. Many of Reeves' friends and colleagues didn't believe that he had committed suicide but that his death was related to the Mannix situation. However, no credible evidence has ever been produced to support that contention.- Actor
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Louis Germain David de Funès de Galarza was born on July 31, 1914, in Courbevoie, France. His father, named Carlos Luis de Funes de Galarza, was a former lawyer of Seville, Spain, who became a diamond cutter. His mother, named Leonor Soto Reguera, was of Spanish and Portugese extraction.
Young Louis de Funès was fond of drawing and piano playing. He dropped out of school and worked various jobs, mostly as a jazz pianist at Pigalle, making his customers laugh every time he made a grimace. He studied acting for one year at the Simon acting school. There he made some useful contacts, including Daniel Gélin among others. During the occupation of Paris in the Second World War, he continued his piano studies at a music school, where he fell in love with a secretary, named Jeanne de Maupassant, a grand-niece of writer Guy de Maupassant. She had fallen in love with "the young man who played jazz like god"; they married in 1943, and had two sons born in 1944 and 1949. Funès continued playing piano at clubs, knowing there wasn't much call for a short, balding, skinny actor. His wife and Daniel Gelin encouraged him until he managed to overcome his rejection. He made his film debut in 1945, at the age of 31, and went on playing about one hundred film roles in the next twenty years.
Louis de Funès shot to international fame in the 1960's after his roles in such slapstick comedies as The Gendarme of Saint-Tropez (1964) and the Fantomas (1964) trilogy. He brilliantly portrayed a funny French policeman, whose hilarious hyperactivity, uncontrolled anger, and sardonic laughter produced a highly comic effect. Funès was voted the most favorite actor in France in 1968, and remained very popular in Europe during the 1970's. He also continued to play on stage during his career as a film star, and was acclaimed for his stage works in classic French theatre. Funès was instrumental in making film adaptations of such theatre plays as 'Oscar continues' and the Molière's 'The Miser', among other plays.
Nicknamed "the man with the forty faces per minute", Louis de Funès played bit parts in over eighty films, before he got his first leading roles, eventually becoming the leading French comedian. He co-starred with the major French actors of the time, including Jean Marais and Mylène Demongeot in the Fantomas trilogy, and also Jean Gabin, Fernandel, Bourvil, Coluche, Annie Girardot, and Yves Montand. Funès's collaboration with director Gérard Oury produced a memorable tandem of Funès-Bourvil. He also worked with Jean Girault in the famous 'Gendarmes' series. In a departure from the Gendarme image, Funès collaborated with Claude Zidi, who wrote for him a new character full of nuances and frankness in The Wing or The Thigh? (1976), which is arguably the best of his roles.
Funès played over 130 roles in film and over 100 roles on stage. From 1943-1983 Louis de Funès was married to Jeanne Barthelemy de Maupassant. Their son, Olivier De Funès , had a brief acting career before becoming a pilot with Air France, his other son, named Patrick de Funès, became a medical doctor. Louis de Funès was also a rose grower, a variety of roses has been named the "Louis de Funès rose" after him. He died of a heart attack and complications of a stroke on January 27, 1983, in Nantes, France. He was laid to rest in the Cimetière du Cellier, and a monument of him was erected in the rose-garden of his wife's castle.- Actor
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Parley Baer was born on 5 August 1914 in Salt Lake City, Utah, USA. He was an actor, known for License to Drive (1988), A Fever in the Blood (1961) and Gypsy (1962). He was married to Ernestine Clark. He died on 22 November 2002 in Los Angeles, California, USA.- Producer
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Norman Lloyd was born Norman Perlmutter in Jersey City, New Jersey, to Sadie (Horowitz), a housewife and singer, and Max Perlmutter, a furniture store manager. His family was Jewish (from Hungary and Russia). He began his acting career in the theater, first "treading the boards" at Eva Le Gallienne's Civic Repertory in New York. Aspiring to work as a classical repertory player, he gradually shed his Brooklyn accent and became a busy stage actor in the 1930s; he next joined the original company of the Orson Welles-John Houseman Mercury Theatre. Lloyd was brought to Hollywood to play a supporting part (albeit the title role) in Alfred Hitchcock's Saboteur (1942). Hitchcock, who later used the actor in Spellbound (1945) and other films, made him an associate producer and a director on TV's long-running Alfred Hitchcock Presents (1955) (then in its third year). In the course of his eight years on the series, Lloyd became a co-producer (with Joan Harrison) and then executive producer. He has since directed for other series (including the prestigious Omnibus (1952)) and for the stage, produced TV's Tales of the Unexpected (1979) and Journey to the Unknown (1968), and played Dr. Auschlander in TV's acclaimed St. Elsewhere (1982).- Actor
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Jeff Corey was a film and television character actor, as well as one of the top acting teachers in America.
Corey was born Arthur Zwerling on August 10, 1914 in New York City, New York, to Mary (Peskin), a Russian Jewish immigrant, and Nathan Zwerling, an Austrian Jewish immigrant. He was an indifferent student, but after taking a drama class in high school, young Corey became hooked. His talent earned him a scholarship to the Feagin School of Dramatic Arts, the top acting school in New York City at the time. Corey then became a professional actor, a career choice which saved him from a life selling sewing machines, he later said.
His first gig after acting school was with a Shakespearean repertory company, after which he became a member of a traveling troupe that entertained children. After Leslie Howard closed his Broadway production of Hamlet in December 1936, he took the play on the road with Corey cast as Rosencrantz in 1937. In 1939, Corey appeared as part of the Federal Theater Project's (FTP) Living Newspaper dramatic showcase in the Life and Death of an American, co-starring with Arthur Kennedy, and featuring the music of Alex North. He made his film debut in a bit part in the Federal Theater's sole movie production, ...One Third of a Nation... (1939). Starring Sylvia Sidney, Leif Erickson and future Oscar-winning director Sidney Lumet, the movie, which was released by Paramount, was a progressive exegesis on the hazards of tenement slum conditions. Congress terminated FTP funding on June 30, 1939, mainly due to objections to the leftist political tones of many FTP productions (see Tim Robbins' movie Cradle Will Rock (1999) about the pressures faced by the FTP in 1939).
In 1940, Corey, who had married his wife Hope in 1938, moved to Hollywood, where he appeared in studio productions through 1943, including The Devil and Daniel Webster (1941), My Friend Flicka (1943) and Joan of Arc (1948). He also had a hand in establishing the Actors Lab, where he appeared in a wide variety of plays, including "Abe Lincoln in Illinois", "Miss Julie" and "Prometheus". He also produced "Juno and the Paycock" for the Lab. He joined the United States Navy Photographic Service in 1943 and was assigned to the aircraft carrier Yorktown as a motion picture combat photographer. He earned three citations while serving during the war, including one for shooting footage on the Yorktown during a kamikaze attack on the ship. The citation, which was awarded in October 1945, read: "His sequence of a Kamikaze attempt on the Carrier Yorktown, done in the face of grave danger, is one of the great picture sequences of the war in the Pacific, and reflects the highest credit upon Corey and the U.S. Navy Photographic Service."
After the war, Corey returned to Hollywood and resumed his acting career, specializing in character parts and playing heavies in films such as The Killers (1946) and Brute Force (1947), both of which starred another returning war vet, Burt Lancaster. His appearance as the psychiatrist in Home of the Brave (1949), one of his best screen performances, promised a long and productive career in Hollywood, but the first phase of his cinema career was cut short in 1951 when he was subpoenaed to appear before the House Committee on Un-American Activities (HUAC) after being named as a former Communist Party member by actor Marc Lawrence.
HUAC had scheduled hearings in Los Angeles as part of its crusade to ferret out Communist influence in Hollywood. Appearing before HUAC in Los Angeles in September 1951, the 37-year-old Corey refused to testify, instead invoking his 5th Amendment rights. The movie industry ruled that anyone invoking their constitutional right not to testify would be blacklisted, and Corey was, missing out on an entire decade of work in films and television during the 1950s. Ironically, Lawrence, whom Corey despised for the rest of his life, pointing out that he had remained stateside on a health deferment while Corey risked his life during the war, was virtually absent from American films and television during the same decade, having to make his living in Italy along with American expatriates who had been blacklisted.
In the book on Hollywood blacklistees "Tender Comrades", Corey explained that he had been a member of the Communist Party, and that while he no longer was in 1951, he could not in good conscience turn informer. "Most of us were retired reds," Corey said. "We had left it, at least I had, years before. The only issue was, did you want to just give them their token names so you could continue your career, or not? I had no impulse to defend a political point of view that no longer interested me particularly. They just wanted two new names so they could hand out more subpoenas."
After being blacklisted, Corey used his G.I. Bill benefits to study speech therapy at UCLA while supporting his family as a common laborer. At the request of a fellow student, Corey organized a class in speech that he taught in the garage of his home in Hollywood Hills home. He expanded his curriculum to acting, accepting $10 a month in "tuition" per month from each student that allowed them to attend weekly classes. Eventually, he expanded the garage to create a small theater where his students performed scenes. Corey's reputation as a teacher grew, and by the mid-1950s, he had become the premier acting coach in Hollywood. Although studios refused to hire the blacklisted Corey as an actor, they did send contract players to study with him.
Corey's class, which became known as the Professional Actors Workshop, attracted directors, screenwriters and established actors seeking insight into the craft. Corey's Workshop has been described by the National Observer as "A major influence in the motion picture industry." Corey was a Stanislavskian teaching the popular Method technique of sense-memory popularized by such other acting gurus as Lee Strasberg and Stella Adler, which sought to tap into the actor's own emotions and psyche. Corey's own teaching technique was eclectic: He focused on one-on-one work with an individual actor, seeking through improvisational exercises to get the actor to tap into his/her subconscious and to use their imagination to come up with a theme that would elucidate their character.
His students included Robert Blake, pop singer Pat Boone, Richard Chamberlain, singer/actress Cher, director-producer Roger Corman, James Dean, Kirk Douglas, Jane Fonda, Peter Fonda, Michael Forest, Sally Kellerman, Irvin Kershner, Shirley Knight, Penny Marshall, Rita Moreno, Jack Nicholson, Leonard Nimoy, Anthony Perkins, Rob Reiner, singer/actress/director Barbra Streisand, future Academy Award-winning screenwriter Robert Towne and Robin Williams. Of Corey the teacher, three-time Oscar-winner Jack Nicholson said after he had become a major movie star, "Acting is life study, and Corey's classes got me into looking at life as an artist."
Corey also tutored experienced actors who had trouble with a role, or who just needed insight into playing a character. One of the already-established actors Corey tutored was three-time Oscar nominee Kirk Douglas, who came to Corey for help in playing the title role in Spartacus (1960). It was Douglas who, along with Otto Preminger, ended the blacklist by hiring Dalton Trumbo to write the screenplays for Spartacus (1960) and Exodus (1960), respectively. Two years after the Trumbo-penned films debuted on the big screen, Corey again was working in films and television. In 1962, he was cast in the film The Yellow Canary (1963) when one of his acting students, pop singer Pat Boone, pressured 20th-Century Fox into hiring him. Now off the blacklist, Corey became a busy character actor in movies and on television. Corey made his reputation as an actor's actor whom other actors loved to work with. Always good with actors, Corey also directed some episodes of television series.
In addition to his acting work, Corey continued teaching. He was Professor of Theater Arts at California State University in Northridge, and was artist in residence at Ball State, in Indiana, the University of Illinois in Bloomington, Chapman College's World Campus Afloat, the University of Texas in Austin, and at the Graduate School of Creative Writing at New York University. He also conducted acting seminars at Emory University in Atlanta, and for the Canadian Film Institute in Vancouver, British Columbia.
On August 16, 2002, six days after his 88th birthday, Corey died in a Santa Monica, California hospital, of complication from a fall. He was survived by his wife of 64 years, Hope, three daughters, and grandchildren.- Actor
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An eloquent character actor who would become a celebrated TV camp icon of the late 1960s, Jonathan Harris was born Jonathan Daniel Charasuchin on November 6, 1914, in the Bronx borough of New York City. The son of impoverished Russian-Jewish émigrés, his father worked in the garment industry and young Jonathan contributed to the family income by working as a box boy in a pharmacy at age 12, which inspired him enough to, after graduating from James Monroe High School, earn a pharmacy degree at Fordham University in 1936.
However, Jonathan's desire to act was quite strong at an early age and it proved overwhelming in the end, forsaking a steady pharmaceutical career for the thoroughly unsteady work in the theater. Self-trained to shake his thick Bronx accent by watching British movies and pursuing interests in Shakespeare and archaeology, Jonathan changed his surname to one much easier to pronounce. After performing in over 100 plays in stock companies nationwide, he finally made an inauspicious debut as a Polish officer in the play "Heart of a City" (1942) and also entertained World War II troops in the South Pacific. Other New York plays during this war-era decade would include "Right Next to Broadway" (1944), "A Flag Is Born" (1946), "The Madwoman of Chaillot (1948) and "The Grass Harp" (1952).
Following his introduction to live television drama in 1948, Jonathan ventured off to Hollywood. After appearing in a number of television anthologies such as "The Chevrolet Tele-Theatre", "Pulitzer Prize Playhouse", "Betty Crocker Star Matinee", "Goodyear Playhouse" and "Hallmark Hall of Fame", he made his film debut as part of a band of potential mutineers in the film Botany Bay (1952) starring doctor hero Alan Ladd and villainous captain James Mason. He wouldn't make another film for another five years, with a supporting role as Lysias in the biblical story of Simon Peter in The Big Fisherman (1959) starring Howard Keel.
However, it was television that would make keep Jonathan working and make a stronger impression. Remaining steadfast on classy anthologies dramas such as "Armstrong Circle Theatre", "Studio One in Hollywood", "Matinee Theatre", "Schlitz Playhouse", "Climax", "Colgate Theatre", "Kraft Theatre", "General Electric Theatre", as well as the role of Exton in a TV-movie version of King Richard II (1954), he began appearing on more popular television series such as Zorro (1957), Father Knows Best (1954), The Law and Mr. Jones (1960), Outlaws (1960), The Twilight Zone (1959), The Lloyd Bridges Show (1962) and Bonanza (1959), Jonathan got his first taste of television success and audiences got to witness the fusty, cowardly, uppity side of Jonathan in two archetypal regular roles: as cowardly assistant Bradley Webster on the crime drama The Third Man (1959) starring Michael Rennie and as persnickety hotel manager Mr. Phillips on the short-lived sitcom The Bill Dana Show (1963) starring the Latin-speaking comic as a bellhop.
This culminated in the television regular role that would make Jonathan a cult icon, as Dr. Zachary Smith, the dastardly, effete spaceship stowaway on Lost in Space (1965). Along with his straight man robot, Harris easily stole the show week after week as he botched and mangled all the good intentions of the Robinson family to get back home to Earth. Jonathan would find himself severely typecast as a plummy villain for the remainder of his career, and was seen usually in cryptic form on such television series as The Ghost & Mrs. Muir (1968), Land of the Giants (1968), Get Smart (1965), Bewitched (1964), McMillan & Wife (1971), Night Gallery (1969), Love, American Style (1969), Sanford and Son (1972), Vega$ (1978), Fantasy Island (1977), etc. He did reappear on the brief sci-fi series Space Academy (1977), as Commander Isaac Gampu, leader of a space academy in the year 3732. However, this character was the polar opposite of Dr. Zachary Smith -- wise, honorable and brave.
Jonathan's crisp, eloquent voice was also used frequently with great relish in commercials and for sci-fi and animated series purposes -- The Banana Splits Adventure Hour (1968), Battlestar Galactica (1978), Foofur (1986), Visionaries: Knights of the Magical Light (1987), Problem Child (1993), The Twisted Tales of Felix the Cat (1995), Freakazoid! (1995) and Buzz Lightyear of Star Command (2000). His voice was also used for the animated features Happily Ever After (1989), A Bug's Life (1998) and Toy Story 2 (1999).
A drama teacher and vocal coach in later years, Harris died of a blood clot to the heart on November 3, 2002, just three days before his 88th birthday. He was survived by his long-time wife (from 1938), Gertrude Bregman, and son Richard (born 1942). He was interred in Westwood Village Memorial Park Cemetery in Los Angeles, California.- Actor
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Robert Alda's career began in vaudeville, as a singer-dancer. Graduating to performing on radio and in burlesque, he made a splashy film debut as George Gershwin in Rhapsody in Blue (1945). His film career faltered somewhat after that, but he had much greater success on the Broadway stage in such productions as "Guys and Dolls" and "What Makes Sammy Run." Settling in Rome in the early 1960s, he appeared in many Italian and European films over the next 15 years. While many of them were quite successful in Europe, few made it to the United States. Alda is the father of actor Alan Alda and Antony Alda.- Actress
- Soundtrack
In addition to being Miss New Orleans in 1931, Dorothy Lamour worked as a Chicago elevator operator; band vocalist for her first husband, band leader Herbie Kaye; and radio performer. In 1936 she donned her soon-to-be-famous sarong for her debut at Paramount, The Jungle Princess (1936), and continued to play female Tarzan-Crusoe-Gauguin-girl-with make-up parts through the war years and beyond. The most famous of these was in the popular Bob Hope/Bing Crosby "Road" pictures - a strange combination of adventure, slapstick, ad-libs and Hollywood inside jokes. Of these she said, "I was the happiest and highest-paid straight woman in the business." As she aged, however, the quality of her films dropped. Among her serious films were Johnny Apollo (1940) and A Medal for Benny (1945).- Actor
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- Producer
Born in Canada, John Ireland was raised in New York. Performing as a swimmer in a water carnival, he moved into the legitimate theater, often appearing in minor roles in Broadway plays. His first big break in pictures came in 1945 when he appeared as Windy the introspective letter-writing G.I. in the classic war epic A Walk in the Sun (1945). Ireland was then often featured (mostly as a heavy) in several films. In 1949, he was nominated for best supporting actor for his role as the reporter in All the King's Men (1949). During the early 1950s, Ireland often starred as the emoting, brooding hero, almost exclusively in "B" pictures. In 1953, with his son Peter Ireland and wife, Joanne Dru, Ireland co-produced and co-directed the western mini-classic Hannah Lee: An American Primitive (1953) (aka Outlaw Territory). From the mid-'50s on. he appeared mainly in Italian "quickie" features and showed up occasionally in supporting roles in major pictures (Spartacus (1960)). Occasionally, his name was mentioned in tabloids of the times, in connection with young starlets, namely Natalie Wood and Sue Lyon. He was to play the role of the patriarch on the Ponderosa in Bonanza: The Next Generation (1988) but the series was not picked up. In addition to Hannah Lee: An American Primitive (1953), his best work was in Little Big Horn (1951) and The Bushwhackers (1951). In his later years, he owned and operated a tiny restaurant, Ireland's, in Santa Barbara, California.- Actor
- Producer
Prolific American character actor of primarily villainous roles. The son of German parents, Cincinnati feed-store manager August Wilke and his wife Rose, Robert Joseph Wilke grew up in Cincinnati. He worked as a lifeguard at a Miami, Florida, hotel, where he made contacts in the film business. He was able to obtain work as a stuntman and continued as such until the mid-'40s, when he began getting actual roles in low-budget westerns and serials. A prominent appearance as one of the heavies in High Noon (1952) led to work in higher-quality films. He worked extensively in television as well as movies, and became an enormously familiar face, though a fairly anonymous one to the general public. His weathered visage made him a perfect western bad guy, but he occasionally played sympathetic parts as well, as in Days of Heaven (1978). An expert golfer, he was said by his friend Claude Akins to have earned more money on the golf course than he ever did in movies. He died in 1989.- Actor
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- Producer
With over 150 Film and TV appearances to his credit, E. G. Marshall was arguably most well known as the imperturbable Juror No. 4 in the Sidney Lumet legal drama 12 Angry Men (1957).
Some of his stand-out performances are in Creepshow (1982), National Lampoon's Christmas Vacation (1989), and Nixon (1995).
Marshall married three times and had seven children.- Director
- Producer
- Editor
Robert Earl Wise was born on September 10, 1914 in Winchester, Indiana, the youngest of three sons of Olive R. (Longenecker) and Earl Waldo Wise, a meat packer. His parents were both of Pennsylvania Dutch (German) descent. At age nineteen, the avid moviegoer came into the film business through an odd job at RKO Radio Pictures. A head sound effects editor at the studio recognized Wise's talent, and made Wise his protégé. Around 1941, Orson Welles was in need of an editor for Citizen Kane (1941), and Wise did a splendid job. Welles really liked his work and ideas. Wise started as a director with some B-movies, and his career went on quickly, and he made many classic movies. His last theatrical film, Rooftops (1989), proved that he was a filmmaker still in full command of his craft in his 80s. The carefully composed images, tight editing, and unflagging pace make one wish that Wise had not stayed away from the camera for very long. Robert Wise died of heart failure on September, 14, 2005, just four days after his 91st birthday.