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- Actor
- Producer
William McChord Hurt was born in Washington, D.C., to Claire Isabel (McGill) and Alfred McChord Hurt, who worked at the State Department. He was trained at Tufts University and The Juilliard School and has been nominated for four Academy Awards, including the most recent nomination for his supporting role in David Cronenberg's A History of Violence (2005). Hurt received Best Supporting Actor accolades for the role from the Los Angeles Film Critics circle and the New York Film Critics Circle.
Hurt spent the early years of his career on the stage between drama school, summer stock, regional repertory and off-Broadway, appearing in more than fifty productions including "Henry V", "5th of July", "Hamlet", "Uncle Vanya", "Richard II", "Hurlyburly" (for which he was nominated for a Tony Award), "My Life" (winning an Obie Award for Best Actor), "A Midsummer's Night's Dream" and "Good". For radio, Hurt read Paul Theroux's "The Grand Railway Bazaar", for the BBC Radio Four and "The Shipping News" by Annie Proulx. He has recorded "The Polar Express", "The Boy Who Drew Cats", "The Sun Also Rises" and narrated the documentaries, "Searching for America: The Odyssey of John Dos Passos", "Einstein-How I See the World" and the English narration of Elie Wiesel's "To Speak the Unspeakable", a documentary directed and produced by Pierre Marmiesse. In 1988, Hurt was awarded the first Spencer Tracy Award from UCLA.- Peter Navy Tuiasosopo was born on 22 December 1963 in San Pedro, California, USA. He was an actor, known for Street Fighter (1994), BASEketball (1998) and The Fast and the Furious (2001). He was married to Cheryl D. Leonard. He died on 10 February 2025 in Phoenix, Arizona, USA.
- Actor
- Stunts
- Additional Crew
Christopher Crosby Farley was born on February 15, 1964, in Madison, Wisconsin, to Mary Anne (Crosby) and Thomas Farley, who owned an oil company. Among his siblings are actors Kevin P. Farley and John Farley. He was of Irish heritage. Farley studied theatre and communications on Marquette University. After finishing university he was in the cast of the Second City Theatre, where he was discovered by the producer of the great comedy show Saturday Night Live (1975), Lorne Michaels. Farley worked on Saturday Night Live (1975) for five years during which he appeared in movies like Wayne's World (1992), Coneheads (1993), Billy Madison (1995) and finally Tommy Boy (1995), with his comic partner and SNL cast member David Spade. The duo later made one more movie called Black Sheep (1996). From that time on, Farley was one of the big comedy stars, and his fame was growing and growing.
After some more time, he made another "lone" movie, Beverly Hills Ninja (1997), which featured former SNL member Chris Rock. Farley was made even more famous, but with his growing fame, his problems grew bigger as well; he didn't want to be the "fat guy who falls down" any longer. Farley had several other problems, too, with alcohol and drug dependency. On December 18th, 1997, he died from a heroin (opiate) and cocaine overdose in his apartment in Chicago, where his body was found by his brother John the next day. Farley's weight of 296 pounds was a contributing factor in his death, but according to his autopsy the alcohol, marijuana and Prozac that was also found in his body, were not. Less than two months prior to his death, he had appeared alongside Chevy Chase on what would be Farley's only SNL show as host. Not unlike his idol John Belushi, he was credited for one more appearance after having left SNL and died at age 33. His death cause was also the same. In the year after Farley's departing, the movie Almost Heroes (1998), where he plays the leading role alongside Matthew Perry was released. He also makes cameo appearances in Dirty Work (1998)- Actor
- Writer
- Producer
Robin McLaurin Williams was born on Saturday, July 21st, 1951, in Chicago, Illinois, a great-great-grandson of Mississippi Governor and Senator, Anselm J. McLaurin. His mother, Laurie McLaurin (née Janin), was a former model from Mississippi, and his father, Robert Fitzgerald Williams, was a Ford Motor Company executive from Indiana. Williams had English, German, French, Welsh, Irish, and Scottish ancestry.
Robin briefly studied political science at Claremont Men's College and theater at College of Marin before enrolling at The Juilliard School to focus on theater. After leaving Juilliard, he performed in nightclubs where he was discovered for the role of "Mork, from Ork", in an episode of Happy Days (1974). The episode, My Favorite Orkan (1978), led to his famous spin-off weekly TV series, Mork & Mindy (1978). He made his feature starring debut playing the title role in Popeye (1980), directed by Robert Altman.
Williams' continuous comedies and wild comic talents involved a great deal of improvisation, following in the footsteps of his idol Jonathan Winters. Williams also proved to be an effective dramatic actor, receiving Academy Award nominations for Best Actor in a Leading Role in Good Morning, Vietnam (1987), Dead Poets Society (1989), and The Fisher King (1991), before winning the Academy Award for Best Actor in a Supporting Role in Good Will Hunting (1997).
During the 1990s, Williams became a beloved hero to children the world over for his roles in a string of hit family-oriented films, including Hook (1991), FernGully: The Last Rainforest (1992), Aladdin (1992), Mrs. Doubtfire (1993), Jumanji (1995), Flubber (1997), and Bicentennial Man (1999). He continued entertaining children and families into the 21st century with his work in Robots (2005), Happy Feet (2006), Night at the Museum (2006), Night at the Museum: Battle of the Smithsonian (2009), Happy Feet Two (2011), and Night at the Museum: Secret of the Tomb (2014). Other more adult-oriented films for which Williams received acclaim include The World According to Garp (1982), Moscow on the Hudson (1984), Awakenings (1990), The Birdcage (1996), Insomnia (2002), One Hour Photo (2002), World's Greatest Dad (2009), and Boulevard (2014).
On Monday, August 11th, 2014, Robin Williams was found dead at his home in Tiburon, California USA, the victim of an apparent suicide, according to the Marin County Sheriff's Office. A 911 call was received at 11:55 a.m. PDT, firefighters and paramedics arrived at his home at 12:00 p.m. PDT, and he was pronounced dead at 12:02 p.m. PDT.- Actor
- Producer
- Writer
Leslie William Nielsen was born in Regina, Saskatchewan, and raised in Tulita (formerly Fort Norman), Northwest Territories. His mother, Mabel Elizabeth (Davies), was Welsh. His father, Ingvard Eversen Nielsen, was a Danish-born Mountie and a strict disciplinarian. Leslie studied at the Academy of Radio Arts in Toronto before moving on to New York's Neighborhood Playhouse. His acting career started at a much earlier age when he was forced to lie to his father in order to avoid severe punishment. Leslie starred in over fifty films and many more television films. One of his two brothers became the Deputy Prime Minister of Canada. On October 10, 2002, he was appointed Officer of the Order of Canada (OC) in recognition of his contributions to the film and television industries. On November 28, 2010, Leslie Nielsen died at age 84 of pneumonia and was buried at Evergreen Cemetery in Fort Lauderdale, Florida.- Producer
- Actor
- Director
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.- Actor
- Soundtrack
Versatility and ability to portray a variety of characters over four decades on stage, screen, and television have made Tony Roberts one of the busiest actors in America. He is a graduate of the High School of Music and Arts, which merged with the High School of Performing Arts to become LaGuardia High School for the Performing Arts at Lincoln Center, where he majored in theater and studied acting with Alvina Krause. Tony is the son of Radio and Television announcer Ken Roberts, one of the founding members of AFTRA, and has himself served as a member of the Board of Directors of the Screen Actor's Guild and Actor's Equity Association. He is currently the President of Theatre Authority - an organization established by the entertainment unions to oversee benefit performances. Tony has appeared in dozens and dozens of films including Stardust Memories (1980), Star Spangled Girl (1971), The Million Dollar Duck (1971), The Taking of Pelham One Two Three (1974), Popcorn (1991), Amityville 3-D (1983), Key Exchange (1985), Hannah and Her Sisters (1986), Radio Days (1987) and Switch (1991). His theater credits included "Sugar", "Don't Drink the Water", "Arsenic and Old Lace" and "South Pacific".- Actress
- Soundtrack
Blonde and blue-eyed with an attractively feline appeal, Carol Lynley began her professional career as Carolyn Lee. She learned ballet at age seven, became a successful child model at age 10 (eventually working for the Sears & Roebuck department store in New York), and got her face nationally recognized as "the Coca-Cola Girl."
Carole Ann Jones was born in New York City to Frances Fuller (Felch) from New England and Irish immigrant Cyril Roland Jones. Trying to branch out into acting early on, in New York City, to Frances Fuller (Felch), from New England, and Cyril Roland Jones, who was an Irish immigrant. Trying to branch out into acting early on, Carol discovered that another individual by that name, born seven years earlier, was already on the books of Actors' Equity, so Carolyn fused "lyn" and "lee" to create 'Lynley'. From age 15 she appeared on Broadway, played juvenile roles in early anthology television, and was featured on the cover of Life Magazine in April 1957. Her first important film roles came in decidedly wholesome fare, beginning with The Light in the Forest (1958) for Walt Disney Productions, in which she played indentured servant Shenandoe. It was a promising start. A New York Times reviewer praised her performance (alongside that of fellow screen newbie James MacArthur), describing both as "real charmers with more than their share of talent." Thrust once more into the limelight, Lynley reprised her earlier Broadway role in the film version of Blue Denim (1959) as a naive girl who becomes pregnant and ponders having an illegal abortion. This performance got her nominated for a Golden Globe Award as Most Promising Newcomer in 1959. That same year, she graduated with a diploma from New York's School for Young Professionals. Lynley went on to play other ingénues and troubled teens before shedding her wholesome image by the early 1960s.
Return to Peyton Place (1961) headlined the actress as a best-selling novelist who controversially reveals the town's darkest secrets and scandals. This was followed by the bawdy (and mostly irritating) sex farce Under the Yum Yum Tree (1963), with Lynley as a virginal college student in a New York apartment block pursued by a lecherous landlord/playboy (played by Jack Lemmon). Luckily, better opportunities to prove her acting mettle turned up with a double role in The Cardinal (1963) (opposite Tom Tryon), and as the tormented mother of a kidnapped child in the superior psychological thriller Bunny Lake Is Missing (1965), directed by Otto Preminger and co-starring Laurence Olivier. Cinema magazine commented "With a face like that of a fallen angel, Carol Lynley has beauty that is often awe inspiring".
In March 1965, the former teen queen posed nude for an issue of Playboy magazine; later that year she played the title role in a turgid biopic of 1930s Hollywood sex symbol Jean Harlow. While the quality of her films tended to decline after the mid-'60s, there were still entertaining moments in B-pictures like The Shuttered Room (1967) and Once You Kiss a Stranger... (1969) (in this lurid thriller, Lynley rose above her material and was memorable in the role of a psychotic murderess). In Irwin Allen's The Poseidon Adventure (1972), she was merely one of the ill-fated passengers who ended up in Davy Jones' Locker. Still, Variety called her performance "especially effective". After 1967, television provided most of her work, including guest spots in seminal shows like Mannix (1967), The Invaders (1967), Hawaii Five-O (1968) and as co-star of the TV pilot for The Night Stalker (1972) (as Carl Kolchak's girlfriend). In her penultimate role, Lynley played a grandmother in a film titled uncannily similar to the one which had launched her career: A Light in the Forest (2003).
Carol Lynley retired from the screen in 2006. A highly capable actress who should have made a bigger splash in Hollywood, she passed away on September 3, 2019 in Pacific Palisades, California from a heart attack. She was 77.- This talented actress was born Anne Marie Wersching and grew up in St. Louis, Missouri. She opted early on for a life in the entertainment industry, performing in community theatre and later as a dancer for some fourteen years with a troupe called the St. Louis Celtic Stepdancers. After moving to Chicago, she acted in several touring plays and at the Utah Shakespearean Festival. In 1999, Wersching graduated with a Bachelor of Fine Arts degree in Musical Theatre from the Millikin University School of Theater and Dance in Decatur, Illinois. Moving to Los Angeles, two years later, she appeared in a revival of the Stephen Sondheim-Richard Rodgers-Arthur Laurents musical "Do I Hear a Waltz?" at the Pasadena Playhouse, as well as making her screen debut in an episode of Star Trek: Enterprise (2001).
Testament to her acting skill have been lengthy stints on popular prime time series like 24 (2001) (as the valiant but ill-fated FBI Special Agent Renee Walker), The Vampire Diaries (2009) (Lily Salvatore), Timeless (2016) (as time traveler Emma Whitmore) and Marvel's Runaways (2017) (as charismatic villain turned ally Leslie Dean). She also gave a thoroughly convincing performance as extrovert rookie police officer Julia Brasher, involved with (Harry) Bosch (2014) at LAPD's Hollywood Division on both a professional and a personal level. Their relationship eventually soured in season two, although Brasher returned briefly for two episodes in season 7. Wersching became the third actress to play the dreaded Borg Queen (following in the footsteps of Alice Krige and Susanna Thompson) and did so to chilling effect in season two of Star Trek: Picard (2020). Her steady volume of television work has included guest appearances on Charmed (1998), Supernatural (2005), NCIS (2003), Hawaii Five-0 (2010) and Castle (2009).
Very much at the peak of her career, Annie Wersching was diagnosed with cancer in the summer of 2020, but kept her illness private and continued to work afterwards. She passed away at her home in Los Angeles, California on January 29, 2023, at age 45. - Actress
- Director
- Writer
A fascinating aura of mystery seemed to surround the characters portrayed by blue-eyed blonde actress Susan Oliver, whose trademark high cheekbones, rosebud lips and heart-shaped face kept audiences intrigued for nearly three decades. She left a fine legacy of work in theater, motion pictures and television.
Born Charlotte Gercke on February 13, 1932 in New York City, she was the daughter of well-to-do George Gercke, a political reporter and journalist for the New York World, and his astrology practitioner wife, Ruth Oliver (aka Ruth Hale Oliver), both of whom divorced while Susan was still quite young (age 3). As a privileged adolescent, she went to various public and boarding schools. As a teenager, she lived with her father and traveled with him overseas to Japan, where he maintained a news post. While there (1948-49), she studied at the Tokyo International College and developed an interest in Japan's deep obsession with the American popular culture. Much later in her career (1977), in fact, Susan would write and direct Cowboysan (1978), a short film which told of Japanese actors performing in an American western.
In the spring of 1949, Susan briefly rejoined her mother, who was now remarried, residing in Los Angeles, and gaining a solid reputation as Hollywood's astrologer to the stars. However, by that fall, Susan was back East, studying drama at Pennsylvania's Swarthmore College (for four years). She then continued her training at New York City's Neighborhood Playhouse, while finding stage work in both summer stock and regional theaters. Commercials and daytime/prime-time television work started coming Susan's way and, by that time, she had already changed her stage moniker to the more flowing name of Susan Oliver.
The year 1957 began with a debut ingénue role as a Revolutionary War-era daughter in the Broadway comedy "Small War on Murray Hill", which opened and closed at the Ethel Barrymore Theater after only nine days. A far more potent and substantial role fell her way in October of that same year, when she replaced British actress Mary Ure as Allison Porter in the superior kitchen sink drama "Look Back in Anger". Susan continued to find extensive dramatic work in live East coast television plays, with roles on The Kaiser Aluminum Hour (1956), The United States Steel Hour (1953), Studio 57 (1954) and Matinee Theatre (1955). At this juncture, she decided to migrate back to Los Angeles for more on-camera opportunities and attained guest roles on such popular prime-time series as Wagon Train (1957), Father Knows Best (1954), The Millionaire (1955) and The Lineup (1954).
Susan made her cinematic debut as the tough yet doomed title role in Warner Bros.' low-budget melodrama The Green-Eyed Blonde (1957). The film was shot in black and white, so it didn't matter that Susan's eyes were blue. Topbilled, she played the rebellious delinquent leader at a girls' reformatory and lent class to the rather exploitative material, which was written by blacklisted writer Dalton Trumbo. Two years later, Susan returned to the big screen as another tough cookie in the better-received biopic The Gene Krupa Story (1959), as a jazz singer who lures the renowned drummer (played by Sal Mineo) down the road to drugs and near ruin. A brief return to the Broadway stage, with the comedy "Patate" starring Tom Ewell and Lee Bowman, would last only four days but Susan earned great notices and won New York's Theatre World Award World for her outstanding breakout performance.
On early 1960s television, Susan continued to offer a number of striking and often showy, neurotic performances on episodes of Bonanza (1959), Wanted: Dead or Alive (1958), 77 Sunset Strip (1958), Wagon Train (1957), The Virginian (1962), Adventures in Paradise (1959), Route 66 (1960), Dr. Kildare (1961) and The Fugitive (1963). Filmwise, she found a few lead and support roles in the Elizabeth Taylor-starred BUtterfield 8 (1960); as a psychiatric nurse in the all-star hospital melodrama The Caretakers (1963); in the tailored-for-the-teens romp, Looking for Love (1964), as a friend to Connie Francis; and in the hilarious Jerry Lewis slapstick vehicle The Disorderly Orderly (1964), in which she added rather heavy drama as a depressed hospital patient. During this time, her most challenging role was as the ambitious wife of doomed country music legend Hank Williams (George Hamilton, in offbeat casting) in Your Cheatin' Heart (1964).
Susan's name remained active particularly on television, where she graced such series as The Andy Griffith Show (1960), The Travels of Jaimie McPheeters (1963), Burke's Law (1963), Dr. Kildare (1961), Ben Casey (1961), Gomer Pyle: USMC (1964), My Three Sons (1960), The Invaders (1967) and Mannix (1967). Classic television showcases includes the episode, People Are Alike All Over (1960), in which she plays the beautiful martian Teenya, who encounters astronaut Roddy McDowall, and the unsold pilot episode The Cage (1966), as Vina, the sole survivor of a crashed spaceship who charms Captain Christopher Pike (Jeffrey Hunter, the captain subsequently replaced by William Shatner as Captain James T. Kirk, when the show became a series). Footage from that pilot was later incorporated into the two-part episode "The Menagerie". In 1966, Susan made bittersweet news, when her regular role as Ann Howard in the prime-time soap opera Peyton Place (1964), was pushed off a cliff to her death. Written out after only five months of a year-long planned role, audiences (as well as Susan) were saddened by the loss of a character they had grown to care about. Subsequently, Susan starred in her own pilot for a new series, "Apartment in Rome", but that didn't sell.
Unfortunately, Susan's late 1960s work in a variety of film genres and opposite a number of formidable leading men were ultimately too few and did not help to advance her career. These included the LSD-induced drama The Love-Ins (1967) with Richard Todd and James MacArthur; the western A Man Called Gannon (1968) starring Anthony Franciosa; and the sci-fiers Change of Mind (1969) with Raymond St. Jacques and The Monitors (1969) with Guy Stockwell. The 1970s also hardly fared better with standard roles in Ginger in the Morning (1974) (donning a black wig), the Spanish-made drama Nido de viudas (1977), and Hardly Working (1980), in which she reunited with Jerry Lewis in what was supposed to be his comeback attempt. That film was ultimately shelved, before earning scant release a couple of years later.
Susan appeared as a regular for one season (1975-76) on Days of Our Lives (1965) and received a "Supporting Actress" Emmy nomination for the made-for-TV movie Amelia Earhart (1976), playing aviatrix Neta "Snookie" Snook, friend and mentor to the title character, played by Emmy-nominated Susan Clark. The role of "Snookie" was tailor-made for Susan, who, by this time, had merited attention as a licensed commercial pilot.
Susan's passion for flying had been compromised a decade earlier after a dramatic 1966 commercial plane scare. The near-death experience kept the actress on solid ground for well over a year, before she managed to overcome her paralyzing fear. In 1970, fully recovered, she co-piloted a single-engine Piper Comanche to victory in the Powder Puff Derby racing event, a victory that earned her the name, "Pilot of the Year". [Amelia Mary Earhart was the first female pilot to fly solo across the Atlantic Ocean]. However, in her attempt to fly to Moscow, the Soviet government denied her entrance to their air space and she was forced to end her journey in Denmark. Susan would later write about her flying exploits in her autobiography "Odyssey: A Daring Transatlantic Journey" (1983).
Susan's last years were focused on the small screen, with roles in the made-for-TV movies Tomorrow's Child (1982) and International Airport (1985), and standard guest-starring on The Love Boat (1977), Murder, She Wrote (1984), Simon & Simon (1981) and Freddy's Nightmares (1988). She also moved behind the camera a few times, directing episodes of M*A*S*H (1972) and Trapper John, M.D. (1979). A longtime smoker, the never-married Susan was diagnosed with lung cancer and died with quiet dignity at the Motion Picture and Television Hospital in Woodland Hills, California at age 58 -- an untimely death for such a beautiful lady and strong talent.- Director
- Producer
- Writer
Alfred Joseph Hitchcock was born in Leytonstone, Essex, England. He was the son of Emma Jane (Whelan; 1863 - 1942) and East End greengrocer William Hitchcock (1862 - 1914). His parents were both of half English and half Irish ancestry. He had two older siblings, William Hitchcock (born 1890) and Eileen Hitchcock (born 1892). Raised as a strict Catholic and attending Saint Ignatius College, a school run by Jesuits, Hitch had very much of a regular upbringing. His first job outside of the family business was in 1915 as an estimator for the Henley Telegraph and Cable Company. His interest in movies began at around this time, frequently visiting the cinema and reading US trade journals.
Hitchcock entering the film industry in 1919 as a title card designer. It was there that he met Alma Reville, though they never really spoke to each other. It was only after the director for Always Tell Your Wife (1923) fell ill and Hitchcock was named director to complete the film that he and Reville began to collaborate. Hitchcock had his first real crack at directing a film, start to finish, in 1923 when he was hired to direct the film Number 13 (1922), though the production wasn't completed due to the studio's closure (he later remade it as a sound film). Hitchcock didn't give up then. He directed The Pleasure Garden (1925), a British/German production, which was very popular. Hitchcock made his first trademark film in 1927, The Lodger: A Story of the London Fog (1927) . In the same year, on the 2nd of December, Hitchcock married Alma Reville. They had one child, Patricia Hitchcock who was born on July 7th, 1928. His success followed when he made a number of films in Britain such as The Lady Vanishes (1938) and Jamaica Inn (1939), some of which also gained him fame in the USA.
In 1940, the Hitchcock family moved to Hollywood, where the producer David O. Selznick had hired him to direct an adaptation of 'Daphne du Maurier''s Rebecca (1940). After Saboteur (1942), as his fame as a director grew, film companies began to refer to his films as 'Alfred Hitchcock's', for example Alfred Hitcock's Psycho (1960), Alfred Hitchcock's Family Plot (1976), Alfred Hitchcock's Frenzy (1972).
Hitchcock was a master of pure cinema who almost never failed to reconcile aesthetics with the demands of the box-office.
During the making of Frenzy (1972), Hitchcock's wife Alma suffered a paralyzing stroke which made her unable to walk very well. On March 7, 1979, Hitchcock was awarded the AFI Life Achievement Award, where he said: "I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen and their names are Alma Reville." By this time, he was ill with angina and his kidneys had already started to fail. He had started to write a screenplay with Ernest Lehman called The Short Night but he fired Lehman and hired young writer David Freeman to rewrite the script. Due to Hitchcock's failing health the film was never made, but Freeman published the script after Hitchcock's death. In late 1979, Hitchcock was knighted, making him Sir Alfred Hitchcock. On the 29th April 1980, 9:17AM, he died peacefully in his sleep due to renal failure. His funeral was held in the Church of Good Shepherd in Beverly Hills. Father Thomas Sullivan led the service with over 600 people attended the service, among them were Mel Brooks (director of High Anxiety (1977), a comedy tribute to Hitchcock and his films), Louis Jourdan, Karl Malden, Tippi Hedren, Janet Leigh and François Truffaut.- Actor
- Director
- Cinematographer
When hunky, twenty-year-old heart-throb Heath Ledger first came to the attention of the public in 1999, it was all too easy to tag him as a "pretty boy" and an actor of little depth. He spent several years trying desperately to sway this image, but this was a double-edged sword. His work comprised nineteen films, including 10 Things I Hate About You (1999), The Patriot (2000), A Knight's Tale (2001), Monster's Ball (2001), Ned Kelly (2003), The Brothers Grimm (2005), Lords of Dogtown (2005), Brokeback Mountain (2005), Casanova (2005), Candy (2006), I'm Not There (2007), The Dark Knight (2008) and The Imaginarium of Doctor Parnassus (2009). He also produced and directed music videos and aspired to be a film director.
Heath Ledger was born on the fourth of April 1979, in Perth, Western Australia, to Sally (Ramshaw), a teacher of French, and Kim Ledger, a mining engineer who also raced cars. His ancestry was Scottish, English, Irish, and Sephardi Jewish. As the story goes, in junior high school it was compulsory to take one of two electives, either cooking or drama. As Heath could not see himself in a cooking class he tried his hand at drama. Heath was talented, however the rest of the class did not acknowledge his talent. When he was seventeen he and a friend decided to pack up, leave school, take a car and rough it to Sydney. Heath believed Sydney to be the place where dreams were made or, at least, where actors could possibly get their big break. Upon arriving in Sydney with a purported sixty-nine cents to his name, Heath tried everything to get a break.
His first real acting job came in a low-budget movie called Blackrock (1997), a largely unimpressive cliché; an adolescent angst film about one boy's struggle when he learns his best mate raped a girl. He only had a very small role in the film. After that small role Heath auditioned for a role in a T.V. show called Sweat (1996) about a group of young Olympic hopefuls. He was offered one of two roles, one as a swimmer, another as a gay cyclist. Heath accepted the latter because he felt to really stand out as an actor one had to accept unique roles that stood out from the bunch. It got him small notice, but unfortunately the show was quickly axed, forcing him to look for other roles. He was in Home and Away (1988) for a very short period, in which he played a surfer who falls in love with one of the girls of Summer Bay. Then came his very brief role in Paws (1997), a film which existed solely to cash in on guitar prodigy Nathan Cavaleri's brief moment of fame, where he was the hottest thing in Australia. Heath played a student in the film, involved in a stage production of a Shakespeare play, in which he played "Oberon". A very brief role, this offered him a small paycheck but did nothing to advance his career. Then came Two Hands (1999). He went to the U.S. trying to audition for film roles, showcasing his brief role in Roar (1997) opposite then unknown Vera Farmiga.
Then Australian director Gregor Jordan auditioned him for the lead in Two Hands (1999), which he got. An in your face Aussie crime thriller, Two Hands (1999) was outstanding and helped him secure a role in 10 Things I Hate About You (1999). After that, it seemed Heath was being typecast as a young hunk, which he did not like, so he accepted a role in a very serious war drama The Patriot (2000).
What followed was a stark inconsistency of roles, Ledger accepting virtually every single character role, anything to avoid being typecast. Some met with praise, like his short role in Monster's Ball (2001), but his version of Ned Kelly (2003) was an absolute flop, which led distributors hesitant to even release it outside Australia. Heath finally had deserved success with his role in Brokeback Mountain (2005). For his portrayal of Ennis Del Mar in in the film, Ledger won the New York Film Critics Circle Award for Best Actor and Best International Actor from the Australian Film Institute, and was nominated for the BAFTA Award for Best Actor in a Leading Role and for the Academy Award for Best Actor.
Ledger was found dead on January 22, 2008 in his apartment in the Manhattan neighborhood of SoHo, with a bottle of prescription sleeping pills near-by. It was concluded weeks later that he died of an accidental overdose of prescription drugs that included pain-killers, sleeping pills and anti-anxiety medication. His death occurred during editing of The Dark Knight (2008) and in the midst of filming his last role as Tony in The Imaginarium of Doctor Parnassus (2009).
Posthumously, he shared the 2007 Independent Spirit Robert Altman Award with the rest of the ensemble cast, the director, and the casting director for the film I'm Not There (2007), which was inspired by the life and songs of American singer-songwriter Bob Dylan. In the film, Ledger portrayed a fictional actor named Robbie Clark, one of six characters embodying aspects of Dylan's life and persona.
A few months before his death, Ledger had finished filming his performance as the Joker in 'The Dark Knight (2008). His untimely death cast a somber shadow over the subsequent promotion of the $185 million Batman production. Ledger received more than thirty posthumous accolades for his critically acclaimed performance as the Joker, the psychopathic clown prince of crime, in the film, including the Academy Award for Best Supporting Actor, a Best Actor International Award at the 2008 Australian Film Institute Awards (for which he is the second actor to win an acting award posthumously after Peter Finch who won an Oscar for Network (Best Actor 1977)), the 2008 Los Angeles Film Critics Association Award for Best Supporting Actor, the 2009 Golden Globe Award for Best Supporting Actor - Motion Picture, and the 2009 BAFTA Award for Best Supporting Actor.- Actor
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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.- Actor
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Film and stage actor and theater director Philip Seymour Hoffman was born in the Rochester, New York, suburb of Fairport to Marilyn (Loucks), a lawyer and judge, and Gordon Stowell Hoffman, a Xerox employee, and was mostly of German, Irish, English and Dutch ancestry. After becoming involved in high school theatrics, he attended New York University's Tisch School of the Arts, graduating with a B.F.A. degree in Drama in 1989.
He made his feature film debut in the indie production Triple Bogey on a Par Five Hole (1991) as Phil Hoffman, and his first role in a major release came the next year in My New Gun (1992). While he had supporting roles in some other major productions like Scent of a Woman (1992) and Twister (1996), his breakthrough role came in Paul Thomas Anderson's Boogie Nights (1997).
He quickly became an icon of indie cinema, establishing a reputation as one of the screen's finest actors, in a variety of supporting and second leads in indie and major features, including Todd Solondz's Happiness (1998), Flawless (1999), The Talented Mr. Ripley (1999), Paul Thomas Anderson's Magnolia (1999), Almost Famous (2000) and State and Main (2000). He also appeared in supporting roles in such mainstream, big-budget features as Red Dragon (2002), Cold Mountain (2003) and Mission: Impossible III (2006).
Hoffman was also quite active on the stage. On Broadway, he has earned two Tony nominations, as Best Actor (Play) in 2000 for a revival of Sam Shepard's "True West" and as Best Actor (Featured Role - Play) in 2003 for a revival of Eugene O'Neill (I)'s "Long Day's Journey into Night." His other acting credits in the New York theater include "The Seagull" (directed by Mike Nichols for The New York Shakespeare Festival), "Defying Gravity," "The Merchant of Venice" (directed by Peter Sellars), "Shopping and F*@%ing" and "The Author's Voice" (Drama Desk nomination).
He was the Co-Artistic Director of the LAByrinth Theater Company in New York, for which he directed "Our Lady of 121st Street" by Stephen Adly Guirgis. He also directed "In Arabia, We'd All Be Kings" and "Jesus Hopped the A Train" by Guirgis for LAByrinth, and "The Glory of Living" by Rebecca Gilman at the Manhattan Class Company.
Hoffman consolidated his reputation as one of the finest actors under the age of 40 with his turn in the title role of Capote (2005), for which he won the Los Angeles Film Critics Award as Best Actor. In 2006, he was awarded the Best Actor Oscar for the same role.
On February 2, 2014, Philip Seymour Hoffman was found dead in an apartment in Greenwich village, New York. Investigators found Hoffman with a syringe in his arm and two open envelopes of heroin next to him. Mr. Hoffman was long known to struggle with addiction. In 2006, he said in an interview with "60 Minutes" that he had given up drugs and alcohol many years earlier, when he was age 22. In 2013, he checked into a rehabilitation program for about 10 days after a reliance on prescription pills resulted in his briefly turning again to heroin.- Julio Oscar Mechoso was born on 31 May 1955 in Matanzas, Cuba. He was an actor, known for Planet Terror (2007), Jurassic Park III (2001) and Virus (1999). He was married to Linda Ruiz. He died on 25 November 2017 in Burbank, California, USA.
- Charlbi Dean was born on 5 February 1990 in Cape Town, South Africa. She was an actress, known for Triangle of Sadness (2022), Spud (2010) and Don't Sleep (2017). She died on 29 August 2022 in Manhattan, New York City, New York, USA.
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Once told by an interviewer, "Everybody would like to be Cary Grant", Grant is said to have replied, "So would I."
Cary Grant was born Archibald Alec Leach on January 18, 1904 in Horfield, Bristol, England, to Elsie Maria (Kingdon) and Elias James Leach, who worked in a factory. His early years in Bristol would have been an ordinary lower-middle-class childhood, except for one extraordinary event. At age nine, he came home from school one day and was told his mother had gone off to a seaside resort. However, the real truth was that she had been placed in a mental institution, where she would remain for years, and he was never told about it (he would not see his mother again until he was in his late 20s).
He left school at age 14, lying about his age and forging his father's signature on a letter to join Bob Pender's troupe of knockabout comedians. He learned pantomime as well as acrobatics as he toured with the Pender troupe in the English provinces, picked up a Cockney accent in the music halls in London, and then in July 1920, was one of the eight Pender boys selected to go to the United States. Their show on Broadway, "Good Times", ran for 456 performances, giving Grant time to acclimatize. He would stay in America. Mae West wanted Grant for She Done Him Wrong (1933) because she saw his combination of virility, sexuality and the aura and bearing of a gentleman. Grant was young enough to begin the new career of fatherhood when he stopped making movies at age 62.
One biographer said Grant was alienated by the new realism in the film industry. In the 1950s and early 1960s, he had invented a man-of-the-world persona and a style - "high comedy with polished words". In To Catch a Thief (1955), he and Grace Kelly were allowed to improvise some of the dialogue. They knew what the director, Alfred Hitchcock, wanted to do with a scene, they rehearsed it, put in some clever double entendres that got past the censors, and then the scene was filmed. His biggest box-office success was another Hitchcock 1950s film, North by Northwest (1959) made with Eva Marie Saint since Kelly was by that time Princess of Monaco.
Although Grant retired from the screen, he remained active. He accepted a position on the board of directors at Faberge. By all accounts this position was not honorary, as some had assumed. Grant regularly attended meetings and traveled internationally to support them. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother Dyan Cannon, was working. He later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle - Hollywood, California), Western Airlines (acquired by Delta Airlines in 1987) and MGM.
Grant expressed no interest in making a career comeback. He was in good health until almost the end of his life, when he suffered a mild stroke in October 1984. In his last years, he undertook tours of the United States in a one-man-show, "A Conversation with Cary Grant", in which he would show clips from his films and answer audience questions. On November 29, 1986, Cary Grant died at age 82 of a cerebral hemorrhage in Davenport, Iowa.
In 1999, the American Film Institute named Grant the second male star of Golden Age of Hollywood cinema (after Humphrey Bogart). Grant was known for comedic and dramatic roles; his best-known films include Bringing Up Baby (1938), The Philadelphia Story (1940), His Girl Friday (1940), Arsenic and Old Lace (1944), Notorious (1946), An Affair to Remember (1957), North by Northwest (1959) and Charade (1963).- Actor
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John Barrymore was born John Sidney Blyth on February 15, 1882 in Philadelphia, Pennsylvania. An American stage and screen actor whose rise to superstardom and subsequent decline is one of the legendary tragedies of Hollywood. A member of the most famous generation of the most famous theatrical family in America, he was also its most acclaimed star. His father was Maurice Blyth (or Blythe; family spellings vary), a stage success under the name Maurice Barrymore. His mother, Georgie Drew, was the daughter of actor John Drew. Although well known in the theatre, Maurice and Georgie were eclipsed by their three children, John, Lionel Barrymore, and Ethel Barrymore, each of whom became legendary stars. John was handsome and roguish. He made his stage debut at age 18 in one of his father's productions, but was much more interested in becoming an artist.
Briefly educated at King's College, Wimbledon, and at New York's Art Students League, Barrymore worked as a freelance artist and for a while sketched for the New York Evening Journal. Gradually, though, the draw of his family's profession ensnared him, and by 1905, he had given up professional drawing and was touring the country in plays. He survived the 1906 San Francisco earthquake, and in 1909, became a major Broadway star in "The Fortune Hunter". In 1922, Barrymore became his generation's most acclaimed "Hamlet", in New York and London. But by this time, he had become a frequent player in motion pictures. His screen debut supposedly came in An American Citizen (1914), though records of several lost films indicate he may have made appearances as far back as 1912. He became every bit the star of films that he was on stage, eclipsing his siblings in both arenas.
Though his striking matinee-idol looks had garnered him the nickname "The Great Profile", he often buried them under makeup or distortion in order to create memorable characters of degradation or horror. He was a romantic leading man into the early days of sound films, but his heavy drinking (since boyhood) began to take a toll, and he degenerated quickly into a man old before his time. He made a number of memorable appearances in character roles, but these became over time more memorable for the humiliation of a once-great star than for his gifts. His last few films were broad and distasteful caricatures of himself, though in even the worst, such as Playmates (1941), he could rouse himself to a moving soliloquy from "Hamlet". He died on May 29, 1942, mourned as much for the loss of his life as for the loss of grace, wit, and brilliance which had characterized his career at its height.- Actor
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Screen legend, superstar, and the man with the most famous blue eyes in movie history, Paul Leonard Newman was born on January 26, 1925, in Cleveland Heights, Ohio, the second son of Arthur Sigmund Newman (died 1950) and Theresa Fetsko (died 1982). His elder brother was Arthur S. Newman Jr., named for their father, a Jewish businessman who owned a successful sporting goods store and was the son of emigrants from Poland and Hungary. Newman's mother (born Terézia Fecková, daughter of Stefan Fecko and Mária Polenak) was a Roman Catholic Slovak from Homonna, Pticie (former Austro-Hungarian Empire), who became a practicing Christian Scientist. She and her brother, Newman's uncle Joe, had an interest in the creative arts, and it rubbed off on him. He acted in grade school and high school plays. The Newmans were well-to-do and Paul Newman grew up in affluent Shaker Heights. Before he became an actor, Newman ran the family sporting goods store in Cleveland, Ohio.
By 1950, the 25-year-old Newman had been kicked out of Ohio University, where he belonged to the Phi Kappa Tau fraternity, for unruly behavior (denting the college president's car with a beer keg), served three years in the United States Navy during World War II as a radio operator, graduated from Ohio's Kenyon College, married his first wife, Jacqueline "Jackie" Witte (born 1929), and had his first child, Scott. That same year, his father died. When he became successful in later years, Newman said if he had any regrets it would be that his father was not around to witness his success. He brought Jackie back to Shaker Heights and he ran his father's store for a short period. Then, knowing that wasn't the career path he wanted to take, he moved Jackie and Scott to New Haven, Connecticut, where he attended Yale University's School of Drama.
While doing a play there, Newman was spotted by two agents, who invited him to come to New York City to pursue a career as a professional actor. After moving to New York, he acted in guest spots for various television series and in 1953 came a big break. He got the part of understudy of the lead role in the successful Broadway play "Picnic". Through this play, he met actress Joanne Woodward (born 1930), who was also an understudy in the play. While they got on very well and there was a strong attraction, Newman was married and his second child, Susan, was born that year. During this time, Newman was accepted into the much admired and popular New York Actors Studio, although he did not actually audition.
In 1954, a film Newman was very reluctant to do was released, The Silver Chalice (1954). He considered his performance in this costume epic to be so bad that he took out a full-page ad in a trade paper apologizing for it to anyone who might have seen it. He had always been embarrassed about the film and reveled in making fun of it. He immediately wanted to return to the stage, and performed in "The Desperate Hours". In 1956, he got the chance to redeem himself in the film world by portraying boxer Rocky Graziano in Somebody Up There Likes Me (1956), and critics praised his performance. In 1957, with a handful of films to his credit, he was cast in The Long, Hot Summer (1958), co-starring Joanne Woodward.
During the shooting of this film, they realized they were meant to be together and by now, so did his then-wife Jackie, who gave Newman a divorce. He and Woodward wed in Las Vegas in January 1958. They went on to have three daughters together and raised them in Westport, Connecticut. In 1959, Newman received his first Academy Award nomination for Best Actor, in Cat on a Hot Tin Roof (1958). The 1960s would bring Newman into superstar status, as he became one of the most popular actors of the decade, and garnered three more Best Actor Oscar nominations, for The Hustler (1961), Hud (1963) and Cool Hand Luke (1967). In 1968, his debut directorial effort Rachel, Rachel (1968) was given good marks, and although the film and Woodward were nominated for Oscars, Newman was not nominated for Best Director. However, he did win a Golden Globe Award for his direction.
1969 brought the popular screen duo of Newman and Robert Redford together for the first time when Butch Cassidy and the Sundance Kid (1969) was released. It was a box office smash. Through the 1970s, Newman had hits and misses from such popular films as The Sting (1973) and The Towering Inferno (1974) to lesser known films as The Life and Times of Judge Roy Bean (1972) to a cult classic Slap Shot (1977). After the death of his only son, Scott, in 1978, Newman's personal life and film choices moved in a different direction. His acting work in the 1980s and on is what is often most praised by critics today. He became more at ease with himself and it was evident in The Verdict (1982) for which he received his sixth Best Actor Oscar nomination and, in 1987, finally received his first Oscar for The Color of Money (1986), almost thirty years after Woodward had won hers. Friend and director of Somebody Up There Likes Me (1956), Robert Wise accepted the award on Newman's behalf as the actor did not attend the ceremony.
Films were not the only thing on his mind during this period. A passionate race car driver since the early 1970s (despite being color-blind), he was co-founder of Newman-Haas racing in 1982, and also founded "Newman's Own", a successful line of food products that has earned in excess of $100 million, every penny of which Newman donated to charity. He also started The Hole in the Wall Gang Camps, an organization for children with serious illness. He was as well known for his philanthropic ways and highly successful business ventures as he was for his legendary actor status.
Newman's marriage to Woodward lasted a half-century. Connecticut was their primary residence after leaving Hollywood and moving East in 1960. Renowned for his sense of humor, in 1998 he quipped that he was a little embarrassed to see his salad dressing grossing more than his movies. During his later years, he still attended races, was much involved in his charitable organizations, and in 2006, he opened a restaurant called Dressing Room, which helps out the Westport Country Playhouse, a place in which Newman took great pride. In 2007, while the public was largely unaware of the serious illness from which he was suffering, Newman made some headlines when he said he was losing his invention and confidence in his acting abilities and that acting was "pretty much a closed book for me". A smoker for many years, Newman died on September 26, 2008, aged 83, from lung cancer.- Actor
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Patrick Wayne Swayze was born on August 18, 1952 in Houston, Texas, to Patsy Swayze (née Yvonne Helen Karnes), a choreographer, and Jesse Wayne Swayze, a chemical plant engineer draftsman. His mother owned a dance school in Houston, where Patrick was also a student. His father passed away in 1982. He graduated from Waltrip High School in Houston, and attended San Jacinto College in Pasadena, Texas. He married actress/dancer Lisa Niemi on June 12, 1975, whom he had known when she was 15 and a student at his mother's dance school. His New York City dance training included the Harkness Ballet School and Joffrey Ballet School. He first danced professionally as "Prince Charming" in "Disney on Parade". After a stint as "Danny Zuko" in the original Broadway production of "Grease", he made his film debut with a small role in Skatetown U.S.A. (1979). He made his television debut in 1981 on M*A*S*H (1972), as a soldier diagnosed with leukemia.
After many supporting roles in films and a lead role in the TV mini-series North & South: Book 1, North & South (1985), he landed his breakthrough role as dance instructor "Johnny Castle" in the hit film Dirty Dancing (1987), for which he received a Golden Globe nomination. He received a second nomination for his portrayal of "Sam Wheat" in the blockbuster Ghost (1990). Ghost (1990) was the highest-grossing film of 1990, and at one point, the fourth highest-grossing film of all time. Unfortunately, he did not capitalize on its success. His subsequent films like City of Joy (1992), Tall Tale (1995), Black Dog (1998), and Waking Up in Reno (2002) did not fare well with critics or audiences. In December 2003, he returned to Broadway as a replacement for the lead role of "Billy Flynn" in the acclaimed revival of John Kander & Fred Ebb's musical, "Chicago". The production also went on tour in several cities of the United States, including Los Angeles. In January 2008, he was diagnosed with pancreatic cancer. He fought the illness for well over a year and was able to continue working, but died on September 14, 2009.- Actress
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Eva Gabor was born on February 11, 1919 in Budapest, Hungary, to Jolie Gabor (née Janka Tilleman) and Vilmos Gabor (born Farkas Miklós Grün), a soldier. Her older siblings were Magda Gabor, an actress, and Zsa Zsa Gabor, an actress and socialite. Her parents were both from Jewish families. She went to Hollywood, California, to act in the 1930s. Her mother escaped from Nazi-occupied Budapest in the 1940s, also settling in the U.S.
Eva appeared both in films and on Broadway in the 1950s, as well as in several "A"-movies, including The Last Time I Saw Paris (1954), starring Elizabeth Taylor, and Artists and Models (1955), which featured Dean Martin and Jerry Lewis.
In 1953, she was given her own television talk show, The Eva Gabor Show (1953). Throughout the rest of the 1950s and early 1960s, she appeared on television and in movies. She appeared on one episode of the mystery series Justice (1954), and was on the game show What's My Line? (1950) as the "mystery challenger". Her film appearances during this period include a remake of My Man Godfrey (1957), Gigi (1958) and It Started with a Kiss (1959).
However, she is best remembered as Lisa Douglas, the socialite turned farm wife on Green Acres (1965) with co-star Eddie Albert playing her attorney husband Oliver Wendell Douglas. Eva Gabor died at age 76 from respiratory failure and pneumonia on July 4, 1995 in Los Angeles, California.- Actor
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Paul William Walker IV was born in Glendale, California. He grew up together with his brothers, Caleb and Cody, and sisters, Ashlie and Amie. Their parents, Paul William Walker III, a sewer contractor, and Cheryl (Crabtree) Walker, a model, separated around September 2004. His grandfather, William Walker, was a Pearl Harbor survivor and a Navy middleweight boxing champion, while his maternal grandfather commanded a tank battalion in Italy under General Patton during World War II. Paul grew up active in sports like soccer and surfing. He had English and German ancestry.
Paul was cast for the first season of the family sitcom, Throb (1986) and began modeling until he received a script for the 1994 movie, Tammy and the T-Rex (1994). He attended high school at Village Christian High School in Sun Valley, California, graduating in 1991. With encouragement from friends and an old casting agent who remembered him as a child, he decided to try his luck again with acting shortly after returning from College.
He starred in Meet the Deedles (1998), a campy, silly but surprisingly fun film which failed to garner much attention. However, lack of attention would not be a problem for Paul Walker for long. With Pleasantville (1998), he appeared in his first hit. As the town stud (a la 1950s) who more than meets his match in modern day Reese Witherspoon, he was one of the most memorable characters of the film. That same year, Paul and his then-girlfriend Rebecca had a baby girl named Meadow Walker (Meadow Rain Walker). Even though Paul publicly admitted that Meadow was not planned, he said that she is his number one priority. Paul and Rebecca separated and Meadow lives with her mother in Hawaii. She often visited with Paul as his homes in Santa Barbara and Huntington Beach, California.
Roles in the teen hits Varsity Blues (1999), She's All That (1999) and The Skulls (2000) cemented Walker's continued rise to celebrity. He was chosen to be one of the young stars featured on the cover of Vanity Fair's annual Hollywood issue in April 2000. While the other stars on the cover, brooded and tried their best to look sexy and serious, Paul smiled brightly and showed why he is not part of the norm. This is one young actor who certainly stood apart from the rest of the crowd, not only with his talent but with his attitude. The Dallas Morning News commented in March of 2000 that, "Paul is one of the rarest birds in Hollywood- a pretension free movie star." The latest blockbuster hit, The Fast and the Furious (2001), had raised his stardom to an even higher level.
His fighting scenes in movies lead to a passion for martial arts. He has studied various forms of Jujitsu, Taekwondo, Jeet Kune Do and Eskrima. Paul mentioned in a magazine interview that he had hoped enroll in the Keysi Fighting Method when it comes to the United States. Other than practicing martial arts, Paul enjoyed relaxing at home with his daughter, Meadow Rain, surfing near his Huntington Beach abode, walking his dogs and just driving.
When Paul seriously did get a break from the entertainment business, he said he loved traveling. Paul had traveled to India, Fiji, Costa Rica, Sarawak, Brunei, Borneo and other parts of the Asian continent. Tragically, Paul Walker died in a car crash on Saturday November 30, 2013, after attending a charity event for "Reach Out Worldwide".
Several of Paul's films were released after his death, include Hours (2013), Brick Mansions (2014), and his final starring role in The Fast and the Furious series, Furious 7 (2015), part of which was completed after his death. The film's closing scenes paid tribute to Walker, whose character met with a happy ending, and rode off into the sunset. He appeared archival footage in Fast X (2023).- Actress
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Brittany Murphy was born Brittany Anne Bertolotti on November 10, 1977 in Atlanta, Georgia, to Sharon Kathleen Murphy and Angelo Joseph Bertolotti. Her father's ancestry is Italian, and her mother is of Irish and Slovak descent. Her father moved the family back to Edison, New Jersey as a native New Yorker and to be closer to other siblings from previous marriages. While dining out one night in the presence of Hollywood royalty, Brittany at the age of 5 approached an adjoining table when Academy Award nominee Burt Reynolds and George Segal were seated. Brittany introduced herself to the Hollywood legends and confidently told them that someday she too would be a star.
She comes from a long line of international musicians and performers with three half-brothers and a sister. Angelo Bertolotti was torn from their tight-knit family as a made-man with the Italian Mafia. The Senior Bertolotti, who coined the nickname of "Britt" for his daughter, was also an entrepreneur and diplomat for organized crime families and one of the first to be subjected to a RICO prosecution. Brittany's interests and well-being were always her father's first goal and objective. To distance his talented daughter from his infamous past, Angelo allowed Sharon to use her maiden name for Brittany's, so that her shining star would not be overshadowed by a father's past, with the couple divorcing thereafter.
Brittany began receiving accolades and applause in regional theater at the early age of 9. At the age of 13, she landed several national commercials. She appeared on television and caught the attention of a personal manager and an agent. Soon, Brittany's mother Sharon turned full-time to being a "Stage Mom" where Angelo provided financial support throughout and their relationship is memorialized with a long and close history in pictures. The hopeful daughter and mother moved to Burbank, CA, where Brittany landed her first television role on Blossom (1990). Hearts and doors opened up for a starring role on Drexell's Class (1991), a short lived TV series.
Brittany's big screen movie debut started with Clueless (1995), where she was co-starring with Alicia Silverstone. Britt soared, demonstrating her musical and artistic talents with dramatic and comedic roles landing a nomination for best leading female performance in the Young Artist Awards for her role in the television film David and Lisa (1998). She garnered tremendous attention for her role in Girl, Interrupted (1999) with Academy Award winner Angelina Jolie. Brittany's band, "Blessed Soul" was growing with her as lead singer and Britt lent her vocal talents to the TV hit, cartoon sensation, King of the Hill (1997) as the voice of Luanne.
She is alleged to have been a witness in the case of the former Department of Homeland Security employee and persecuted whistleblower Julia Davis. According to Davis, Brittany and her fiancée Simon Monjack were then targeted for retaliation that included land and aerial surveillance and a threatened prosecution. Monjack was arrested and detained by the Bureau of Immigration and Customs Enforcement (ICE). Brittany and Simon confided in Alex Ben Block of the Hollywood Reporter, telling him in an interview that they were under surveillance by helicopters and their telephones have been wiretapped. This information was published by THR posthumously, in an article entitled "The Last Difficult Days of Brittany Murphy."
On December 20, 2009, Brittany Murphy died an untimely death. The LAPD and Los Angeles County Coroner closed the case within one hour, attributing her death to pneumonia and anemia. Five months after Brittany's unexpected demise, her husband Simon Monjack was found dead in the house he shared with Brittany. The chief/spokesperson at the Los Angeles County Dept of Coroner, Craig Harvey, stated that Simon also died from the same exact causes as his wife, namely pneumonia and anemia. Neither Brittany, nor Simon, were given a thorough and complete forensic autopsy for poisons. Brittany's father, Angelo "AJ" Bertolotti, is pursuing the investigation of the true reasons behind Brittany's and Simon's sudden demise, as he believes that the two were murdered. Abnormally high levels of heavy metals and poisons were discovered in Brittany's hair, tested by two other independent forensic labs with famed Pathologist, attorney Cyril Wecht concluded from the appearances, Brittany could have been murdered and should be exhumed. Her father Angelo is preparing court actions to ensure she obtains justice.- Actor
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John Wayne was born Marion Robert Morrison in Iowa, to Mary Alberta (Brown) and Clyde Leonard Morrison, a pharmacist. He was of English, Scottish, Ulster-Scots, and Irish ancestry.
Clyde developed a lung condition that required him to move his family from Iowa to the warmer climate of southern California, where they tried ranching in the Mojave Desert. Until the ranch failed, Marion and his younger brother Robert E. Morrison swam in an irrigation ditch and rode a horse to school. When the ranch failed, the family moved to Glendale, California, where Marion delivered medicines for his father, sold newspapers and had an Airedale dog named "Duke" (the source of his own nickname). He did well at school both academically and in football. When he narrowly failed admission to Annapolis he went to USC on a football scholarship 1925-7. Tom Mix got him a summer job as a prop man in exchange for football tickets. On the set he became close friends with director John Ford for whom, among others, he began doing bit parts, some billed as John Wayne. His first featured film was Men Without Women (1930). After more than 70 low-budget westerns and adventures, mostly routine, Wayne's career was stuck in a rut until Ford cast him in Stagecoach (1939), the movie that made him a star. He appeared in nearly 250 movies, many of epic proportions. From 1942-43 he was in a radio series, "The Three Sheets to the Wind", and in 1944 he helped found the Motion Picture Alliance for the Preservation of American Ideals, a Conservative political organization, later becoming its President. His conservative political stance was also reflected in The Alamo (1960), which he produced, directed and starred in. His patriotic stand was enshrined in The Green Berets (1968) which he co-directed and starred in. Over the years Wayne was beset with health problems. In September 1964 he had a cancerous left lung removed; in 1977 when Star Wars: Episode IV - A New Hope was being made, John Waynes archive voice was used for the character Garindan ezz Zavor, later in March 1978 there was heart valve replacement surgery; and in January 1979 his stomach was removed. He received the Best Actor nomination for Sands of Iwo Jima (1949) and finally got the Oscar for his role as one-eyed Rooster Cogburn in True Grit (1969). A Congressional Gold Medal was struck in his honor in 1979. He is perhaps best remembered for his parts in Ford's cavalry trilogy - Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950).- Actor
- Soundtrack
River Phoenix was born River Jude Bottom in Madras, Oregon. His mother, Arlyn (Dunetz), a Bronx-born secretary, and his father, John Bottom, a carpenter, met in California in 1968. They worked as itinerant fruit pickers, and later joined the Children of God religious group (John was originally Catholic, while Arlyn was born Jewish). By the time River was two, they were living in South America, where John was the sect's Archbishop of Venezuela. They later left the group and, in 1977, moved back to the United States, changing their last name to "Phoenix". They lived with River's maternal grandparents in Florida, and later moved to Los Angeles. His parents encouraged all of their children to get into movies and, by age ten, River was acting professionally on TV. His film debut was in Explorers (1985), followed rapidly by box-office successes with Stand by Me (1986) and The Mosquito Coast (1986), and as young Indiana in Indiana Jones and the Last Crusade (1989). His role as Danny Pope in Running on Empty (1988) earned him an Academy Award nomination as Best Supporting Actor. His best role was probably Mike, the hustler in My Own Private Idaho (1991).
A dedicated animal-rights activist and environmentalist, River was a strict vegetarian and a member of PeTA (People for the Ethical Treatment of Animals). River was a talented musician as well as an actor, and he played guitar, sang, and wrote songs for his band, Aleka's Attic, which also included his sister Rain Phoenix, while living in Gainsville, Florida. Although the band never released its own album, their song "Across the Way" can be found on PeTA's "Tame Yourself" album, used to fight animal abuse. River was in the middle of filming Dark Blood (2012), playing the character Boy when he died. The film couldn't be finished due to too many unfilmed crucial scenes. His mother was later sued.
River died of acute multiple drug intoxication involving lethal levels of cocaine and morphine at age 23 outside the Viper Room, Johnny Depp's Los Angeles club.