ACTORS OF JOHN HUSTON,S FILMS
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Anjelica Huston was born on July 8, 1951 to director and actor John Huston and Russian prima ballerina Enrica 'Ricki' Soma. Huston spent most of her childhood overseas, in Ireland and England, and in 1968 first dipped her toe into the world of show business, taking on the lead role of her father's movie A Walk with Love and Death (1969). However, before it was released, her mother died in a car accident, at 39, and Huston relocated to the United States, where the very tall, exotically-beautiful young woman modeled for several years.
While modeling, Huston made sporadic cameo appearances in a couple films, but decided to pursue it as a career in the early '80s. She prepared herself by reaching out to acting coach Peggy Feury and began to get roles. The first notable part was in Bob Rafelson's remake of the classic noir movie The Postman Always Rings Twice (1981) (in which Jack Nicholson, with whom Huston had been living since 1973, was the star). After a few more years of on-again, off-again supporting work, her father perfectly cast her as calculating, imperious Maerose, the daughter of a Mafia don whose love is scorned by a hit man (Nicholson again) in his film adaptation of Richard Condon's Mafia-satire novel Prizzi's Honor (1985). Huston won the Best Supporting Actress Oscar for her performance, making her the first person in Academy Award history to win an Oscar when a parent and a grandparent (her father and grandfather Walter Huston) had also won one.
Huston thereafter worked prolifically, including notable roles in Francis Ford Coppola's Gardens of Stone (1987), Barry Sonnenfeld's film versions of the Charles Addams cartoons The Addams Family (1991) and Addams Family Values (1993), in which she portrayed Addams matriarch Morticia, Wes Anderson's The Royal Tenenbaums (2001) and The Life Aquatic with Steve Zissou (2004). Probably her finest performance on-screen, however, was as Lilly, the veteran, iron-willed con artist in Stephen Frears' The Grifters (1990), for which she received another Oscar nomination, this time for Best Actress. A sentimental favorite is her performance as the lead in her father's final film, an adaptation of James Joyce's The Dead (1987) -- with her many years of residence in Ireland, Huston's Irish accent in the film is authentic.
Endowed with her father's great height and personal boldness, and her mother's beauty and aristocratic nose, Huston certainly cuts an imposing figure, and brings great confidence and authority to her performances. She clearly takes her craft seriously and has come into her own as a strong actress, emerging from under the shadow of her father, who passed away in 1987. Huston married the sculptor Robert Graham in 1992. The couple lived in Venice Beach until Graham's death in 2008.- Actor
- Soundtrack
Donal McCann was born on 7 May 1943 in Dublin, Ireland. He was an actor, known for Stealing Beauty (1996), The Dead (1987) and High Spirits (1988). He died on 17 July 1999 in Dublin, Ireland.- Actor
- Producer
- Writer
Jack Nicholson, an American actor, producer, director and screenwriter, is a three-time Academy Award winner and twelve-time nominee. Nicholson is also notable for being one of two actors - the other being Michael Caine - who have received an Oscar nomination in every decade from the '60s through the '00s.
Nicholson was born on April 22, 1937, in Neptune, New Jersey. He was raised believing that his grandmother was his mother, and that his mother, June Frances Nicholson, a showgirl, was his older sister. He discovered the truth in 1975 from a Time magazine journalist who was researching a profile on him. His real father is believed to have been either Donald Furcillo, an Italian American showman, or Eddie King (Edgar Kirschfeld), born in Latvia and also in show business. Jack's mother's ancestry was Irish, and smaller amounts of English, German, Scottish, and Welsh.
Nicholson made his film debut in a B-movie titled The Cry Baby Killer (1958). His rise in Hollywood was far from meteoric, and for years, he sustained his career with guest spots in television series and a number of Roger Corman films, including The Little Shop of Horrors (1960).
Nicholson's first turn in the director's chair was for Drive, He Said (1971). Before that, he wrote the screenplay for The Trip (1967), and co-wrote Head (1968), a vehicle for The Monkees. His big break came with Easy Rider (1969) and his portrayal of liquor-soaked attorney George Hanson, which earned Nicholson his first Oscar nomination. Nicholson's film career took off in the 1970s with a definitive performance in Five Easy Pieces (1970). Nicholson's other notable work during this period includes leading roles in Roman Polanski's noir masterpiece Chinatown (1974) and One Flew Over the Cuckoo's Nest (1975), for which he won his first Best Actor Oscar.
The 1980s kicked off with another career-defining role for Nicholson as Jack Torrance in Stanley Kubrick's adaptation of Stephen King's novel The Shining (1980). A string of well-received films followed, including Terms of Endearment (1983), which earned Nicholson his second Oscar; Prizzi's Honor (1985), and The Witches of Eastwick (1987). He portrayed another renowned villain, The Joker, in Tim Burton's Batman (1989). In the 1990s, he starred in such varied films as A Few Good Men (1992), for which he received another Oscar nomination, and a dual role in Mars Attacks! (1996).
Although a glimpse at the darker side of Nicholson's acting range reappeared in The Departed (2006), the actor's most recent roles highlight the physical and emotional complications one faces late in life. The most notable of these is the unapologetically misanthropic Melvin Udall in As Good as It Gets (1997), for which he won his third Oscar. Shades of this persona are apparent in About Schmidt (2002), Something's Gotta Give (2003), and The Bucket List (2007). In addition to his Academy Awards and Oscar nominations, Nicholson has seven Golden Globe Awards, and received a Kennedy Center Honor in 2001. He also became one of the youngest actors to receive the American Film Institute's Life Achievement award in 1994.
Nicholson has six children by five different women: Jennifer Nicholson (b. 1963) from his only marriage to Sandra Knight, which ended in 1966; Caleb Goddard (b. 1970) with Five Easy Pieces (1970) co-star Susan Anspach, who was automatically adopted by Anspach's then-husband Mark Goddard; Honey Hollman (b. 1982) with Danish supermodel Winnie Hollman; Lorraine Nicholson (b. 1990) and Ray Nicholson (b. 1992) with minor actress Rebecca Broussard; and Tessa Gourin (b. 1994) with real estate agent Jennine Marie Gourin. Nicholson's longest relationship was the 17 nonmonogamous years he spent with Anjelica Huston; this ended when Broussard announced she was pregnant with his child.- Actress
- Producer
- Director
Kathleen Turner was born June 19, 1954 in Springfield, Missouri, to Patsy (Magee) and Allen Richard Turner, a U.S. Foreign Service officer. She graduated from American School in London in 1972. After the death of her father, the Turner family moved back to the United States where Kathleen later enrolled at Missouri State University for two years, and earned her Bachelor of Fine Arts degree from the University of Maryland Baltimore County (UMBC) in 1977. Kathleen made her film debut in Body Heat (1981), her role as the relentless Matty Waker brought her astronomical success, and is remembered as one of the sexiest roles in film history. After her initial success, Kathleen continued to flourish with performances in The Man with Two Brains (1983), Romancing the Stone (1984), The Jewel of the Nile (1985), Prizzi's Honor (1985), Peggy Sue Got Married (1986), The War of the Roses (1989), and Serial Mom (1994).- Actor
- Director
- Additional Crew
Born and raised in New York City, Robert Loggia studied journalism at the University of Missouri before moving back to New York to pursue acting. He trained at the Actors Studio while doing stage work. From the late 1950s he was a familiar face on TV, usually as authoritative figures. Loggia also found work in movies such as The Greatest Story Ever Told (1965), Scarface (1983) and Big (1988). Always in demand, Loggia worked until his death, at 85, from complications of Alzheimer's.- Actor
- Producer
- Director
The son of a Lancashire bookmaker, Albert Finney came to motion pictures via the theatre. In 1956, he won a scholarship to RADA where his fellow alumni included Peter O'Toole and Alan Bates. He joined the Birmingham Repertory where he excelled in plays by William Shakespeare. A member of the Royal Shakespeare Company, Finney understudied Laurence Olivier at Stratford-upon-Avon, eventually acquiring a reputation as 'the new Olivier'. He first came to critical attention by creating the title role in Keith Waterhouse's "Billy Liar" on the London stage. His film debut soon followed with The Entertainer (1960) by Tony Richardson with whom had earlier worked in the theatre. With the changing emphasis in 60s British cinema towards gritty realism and working-class milieus, Finney's typical screen personae became good-looking, often brooding proletarian types and rebellious anti-heroes as personified by his Arthur Seaton in Karel Reisz's Saturday Night and Sunday Morning (1960). His exuberant defining role, however, was in the bawdy period romp Tom Jones (1963) in which Finney revealed a substantial talent for comedy. In the same vein, he scored another hit opposite Audrey Hepburn in the charming marital comedy Two for the Road (1967).
By 1965, Finney had branched out into production, setting up Memorial Enterprises in conjunction with Michael Medwin. In 1968, he directed himself in Charlie Bubbles (1968) and three years later produced the Chandleresque homage Gumshoe (1971), in which he also starred as Eddie Ginley, a bingo-caller with delusions of becoming a private eye. From 1972 to 1975, Finney served as artistic director of the Royal Court Theatre. His intermittent forays to the screen confirmed him as a versatile international actor of note, though not what one might describe as a mainstream star. His roles have ranged from Ebenezer Scrooge in the musical version of Scrooge (1970) to Daddy Warbucks in Annie (1982) and (in flamboyant over-the-top make-up) Hercule Poirot in Murder on the Orient Express (1974). He appeared as Minister of Police Joseph Fouché in Ridley Scott's superb period drama The Duellists (1977) and as a grandiloquent Shakespearean actor in The Dresser (1983) for which he received an Oscar nomination. For the small screen Finney essayed Pope John Paul II (1984) and was a totally believable Winston Churchill in the acclaimed The Gathering Storm (2002). His final movie credit was in the James Bond thriller Skyfall (2012).
Finney was five-times nominated for Academy Awards in 1964, 1975, 1984, 1985 and 2001. He won two BAFTA Awards in 1961 and 2004. True to his working-class roots, he spurned a CBE in 1980 and a knighthood in 2000, later explaining his decision by stating that the 'Sir thing' "slightly perpetuates one of our diseases in England, which is snobbery". Albert Finney was diagnosed with kidney cancer in 2011. He died on February 7 2019 at a London hospital from a chest infection at the age of 82. Upon his death, John Cleese described him as "the best" and "our greatest actor".- Actress
- Producer
- Soundtrack
Jacqueline Bisset has been an international film star since the late '60s. She received her first roles mainly because of her stunning beauty, but over time she has become a fine actress respected by fans and critics alike. Bisset has worked with directors John Huston, François Truffaut, George Cukor and Roman Polanski. Her co-stars have included Anthony Quinn, Paul Newman, Nick Nolte, Jean-Paul Belmondo, Kenneth Branagh and Marcello Mastroianni.
Her somewhat French-sounding name has led many to assume that she is from France, but she was brought up in England and had to study to learn French. Her mother was French and was an attorney before being married. As a child Jacqueline studied ballet. During her teenage years her father left the family when her mother was diagnosed with disseminating sclerosis; Jacqueline worked as a model to support her ailing mother and eventually her parents divorced, an experience she has said she considered character-strengthening. She took an early interest in film, and her modeling career helped pay for acting lessons.
In 1967 Bisset gained her first critical attention in Two for the Road (1967), and that same year appeared in the popular James Bond spoof Casino Royale (1967), playing Miss Goodthighs. In 1968 her career got a boost when Mia Farrow unexpectedly dropped out of the shooting of The Detective (1968); Farrow's marriage to co-star Frank Sinatra was on the rocks, and her role was eventually given to Bisset, who received special billing in the film's credits. In the following year she earned a Golden Globe nomination as Most Promising Newcomer for The Sweet Ride (1968) and gained even more attention playing opposite Steve McQueen in the popular action film Bullitt (1968). In 1970 she was featured in the star-studded disaster film Airport (1970) and had the main role in The Grasshopper (1970). Then she co-starred with Alan Alda in the well-reviewed but commercially underperforming horror movie, The Mephisto Waltz (1971). In 1973 she became recognized in Europe as a serious actress when she played the lead in Truffaut's Day for Night (1973). However, it would be several years before her talents would be taken seriously in the US. Though she scored another domestic hit with Murder on the Orient Express (1974), her part in it, as had often been the case, was decorative. She did appear to good effect in Believe in Me (1971), Le Magnifique (1973), The Sunday Woman (1975) and St. Ives (1976).
Jacqueline's stunning looks and figure made quite a splash in The Deep (1977). Her underwater swimming scenes in that movie inspired the worldwide wet T-shirt craze, and Newsweek magazine declared her "the most beautiful film actress of all time." The film's producer, Peter Guber, said "That T-shirt made me a rich man." However, she hated the wet T-shirt scenes because she felt exploited. At the time of filming she was not told that the filmmakers would shoot the scenes in such a provocative way, and she felt tricked. On the plus side, the huge success of the picture made Bisset officially bankable. She was next seen in high-profile roles in The Greek Tycoon (1978), a thinly disguised fictionalization of the marriage of Jacqueline Kennedy and Aristotle Onassis, and Who Is Killing the Great Chefs of Europe? (1978), for which she received a Golden Globe nomination as Best Actress in a Comedy.
In the early '80s, Bisset starred in the box office disasters When Time Ran Out... (1980) and Inchon (1981), but her well-received turn opposite Candice Bergen in Rich and Famous (1981) between those two films helped gain her recognition as a serious actress from American audiences. She rebounded neatly with Class (1983) and Under the Volcano (1984), getting a Golden Globe nomination as Best Supporting Actress for the latter. She also earned praise for her work in the excellent made-for-cable WWII drama Forbidden (1984), then appeared on network TV in adaptations of Anna Karenina (1985) with Christopher Reeve and Napoleon and Josephine: A Love Story (1987) with Armand Assante. In 1989 she co-starred in the raunchy yet witty comedy Scenes from the Class Struggle in Beverly Hills (1989) and the erotic thriller Wild Orchid (1989), neither of which fared too well, but her output remained consistent. As she transitioned seamlessly out of her ingenue years, smaller-scale productions such as CrimeBroker (1993) and Leave of Absence (1994) would provide Bisset with plum roles, even if they went largely unseen.
In 1996 she was nominated for a César Award, the French equivalent of the Oscar, for her performance in Claude Chabrol's La Cérémonie (1995). She held roles in period pieces like Dangerous Beauty (1998), as well as the Biblical epics Jesus (1999) and In the Beginning (2000). Other notable credits included the miniseries Joan of Arc (1999) alongside Leelee Sobieski, which gained her an Emmy nomination, and The Sleepy Time Gal (2001), which premiered at Sundance but unfortunately was not picked up for theatrical distribution. In 2005 Jacqueline was back on the big screen, playing Keira Knightley's mother in the Domino Harvey biopic Domino (2005) for Tony Scott. In 2006 she appeared in the fourth season of Nip/Tuck (2003) as the ruthless extortionist "James." Bisset then turned in strong performances in Boaz Yakin's disturbing independent drama Death in Love (2008) and the telepic An Old Fashioned Thanksgiving (2008), garnering accolades for both. In 2013 she appeared in BBC's program Dancing on the Edge (2013), for which she finally won her first Golden Globe. She followed that up with the movies Welcome to New York (2014) with Gérard Depardieu and Miss You Already (2015) with Drew Barrymore and Toni Collette.
2016 saw the long-awaited release of Linda Yellen's comedy The Last Film Festival (2016), where Jacqueline was a riot as a washed-up Italian diva alongside Dennis Hopper in his final role. Since then she's kept busy on the indie circuit, appearing in Backstabbing for Beginners (2018) with Ben Kingsley, Here and Now (2018) with Sarah Jessica Parker, and Asher (2018) with Ron Perlman and Famke Janssen, as well as the Amazon original movie Birds of Paradise (2021) and a title role in Loren & Rose (2022).
Bisset has never married, but has been involved in long-term romantic relationships with Canadian actor Michael Sarrazin, Moroccan entrepreneur Victor Drai, Russian ballet dancer Alexander Godunov, Swiss actor Vincent Perez and Turkish martial arts instructor Emin Boztepe. She continues to make numerous films, and frequently participates in film festivals and award ceremonies around the world.- Actor
- Producer
- Soundtrack
Anthony Andrews made his West End theater debut at the Apollo Theatre as one of twenty young schoolboys in Alan Bennett's "Forty Years On" with John Gielgud. He began his career at the Chichester Festival Theatre in the UK. His theater credits include spells with the New Shakespeare Company - "Romeo and Juliet" and "A Midsummer Night's Dream". The Royal National Theatre production of Stephen Poliakoff's "Coming in to Land" with Maggie Smith, directed by Peter Hall, the much-acclaimed Greenwich Theatre production of Robin Chapman's "One of Us" and, as "Pastor Manders", in Robin Phillips's highly acclaimed production of Henrik Ibsen's "Ghosts" at the Comedy Theatre in London, produced by Bill Kenwright.
Anthony's first television appearance was in A Beast with Two Backs (1968) by Dennis Potter, which was part of The Wednesday Play (1964) series. His first leading role in a series was as the title character in the BBC's The Fortunes of Nigel (1974) by Walter Scott. Subsequently, he distinguished himself in various television classics playing "Mercutio" in Romeo & Juliet (1978) and starred in three different plays in the "Play of the Month" (1976) series, including playing "Charles Harcourt" in "London Assurance". He also starred in Danger UXB (1979), in which he played bomb disposal hero "Brian Ash".
Most famously, he received worldwide recognition for his portrayal of the doomed "Sebastian Flyte" in Brideshead Revisited (1981) for which he won a BAFTA in the UK, the Golden Globe award in the USA and an Emmy nomination for Best Actor.
Anthony's since gone on to star in Jewels (1992), for which he received another Golden Globe nomination.
Most recently, Anthony has received tremendous acclaim for his outstanding portrayal of "Count Fosco" in "The Woman In White" at the Palace Theatre in London's West End.
As a producer, he co-produced Lost in Siberia (1991), which translates as "Lost in Siberia", filmed entirely in Russia, which received a Golden Globe nomination for Best Foreign Film and Haunted (1995), produced by his own production company, Double 'A' Films.- Actress
- Producer
- Writer
The entertainment world has enjoyed a six-decade love affair with comedienne/singer Carol Burnett. A peerless sketch performer and delightful, self-effacing personality who rightfully succeeded Lucille Ball as the carrot-topped "Queen of Television Comedy," it was Burnett's traumatic childhood that set the stage for her comedy.
Carol's rags-to-riches story started out in San Antonio, Texas, on April 26, 1933, where she was born to Ina Louise (Creighton) and Joseph Thomas "Jodie" Burnett, both of whom suffered from acute alcoholism. As a child, she was left in the care of a beloved grandmother, who shuttled the two of them off to Hollywood, California, where they lived in a boarding house and shared a great passion for the Golden Age of movies. The plaintive, loose-limbed, highly sensitive Carol survived her wallflower insecurities by grabbing attention as a cut-up at Hollywood High School. A natural talent, she attended the University of California and switched majors from journalism to theater. Scouting out comedy parts on TV and in the theater, she first had them rolling in the aisles in the mid-1950s performing a lovelorn novelty song called "I Made a Fool of Myself Over John Foster Dulles" (then Secretary of State) in a nightclub act. This led to night-time variety show appearances with Jack Paar and Ed Sullivan and where the career ball really started rolling.
Carol's first big TV breaks came at age 22 and 23 as a foil to a ventriloquist's dummy on the already-established The Paul Winchell Show (1950) in 1955, and as Buddy Hackett's gawky girlfriend on the short-lived sitcom Stanley (1956). She also developed an affinity for game shows and appeared as a regular on one of TV earliest, Stump the Stars (1947) in 1958. While TV would bring Carol fans by the millions, it was Broadway that set her on the road to stardom. She began as the woebegone Princess Winnifred in the 1959 Broadway musical "Once Upon a Mattress" which earned her first Tony Award nomination. [She would later appear in three TV adaptations - Once Upon a Mattress (1964), Once Upon a Mattress (1972) and Once Upon a Mattress (2005).] This, in turn, led to the first of an armful of Emmy Awards as a repertoire player on the popular variety series The Garry Moore Show (1958) in 1959. Burnett invented a number of scene-stealing characters during this time, most notably her charwoman character. With the phenomenal household success of the Moore show, she moved up quickly from second banana to headliner and appeared in a 1962 Emmy-winning special Julie and Carol at Carnegie Hall (1962) co-starring close friend Julie Andrews. She earned the Outer Critics Circle Award for the short-lived musical "Fade Out, Fade In" (1964); and made her official film debut opposite Bewitched (1964) star Elizabeth Montgomery and Dean Martin in the lightweight comedy Who's Been Sleeping in My Bed? (1963).
Not surprisingly, fellow redhead Lucille Ball, who had been Carol's treasured idol growing up, subsequently became a friend and mentor to the rising funny girl. Hilarious as a guest star on The Lucy Show (1962), Carol appeared as a painfully shy (natch) wallflower type who suddenly blooms in jaw-dropping fashion. Ms. Ball was so convinced of Carol's talent that she offered Carol her own Desilu-produced sitcom, but Burnett had her heart set on fronting a variety show. With her own team of second bananas, including character crony Harvey Korman, handsome foil Lyle Waggoner, and lookalike "kid sister" type Vicki Lawrence, the The Carol Burnett Show (1967) became an instant sensation, and earned 22 Emmy Awards during its 11-year run. It allowed Carol to fire off her wide range of comedy and musical ammunition--whether running amok in broad sketch comedy, parodying movie icons such as Gloria Swanson, Shirley Temple, Vivien Leigh or Joan Crawford, or singing/gushing alongside favorite vocalists Jim Nabors, Steve Lawrence, Peggy Lee, Sammy Davis Jr., Ella Fitzgerald and Mel Tormé. She managed to bring in huge stars not known at all for slapstick comedy, including Rock Hudson and even then-Governor Ronald Reagan while providing a platform for such up-and-coming talent as Bernadette Peters and The Pointer Sisters In between, Carol branched out with supporting turns in the films Pete 'n' Tillie (1972), The Front Page (1974) and Robert Altman's A Wedding (1978).
Her program, whose last episode aired in March of 1978, was the last truly successful major network variety show to date. Carol took on new challenges to display her unseen dramatic mettle, and accomplished this amazingly in TV-movie showcases. She earned an Emmy nomination for her gripping portrayal of anti-Vietnam War activist Peg Mullen in Friendly Fire (1979), and convincingly played a woman coming to terms with her alcoholism in Life of the Party: The Story of Beatrice (1982). Neither character bore any traces of the usual Burnett comedy shtick. Though she proved she could contain herself for films, Carol was never able to acquire crossover success into movies, despite trouper work in The Four Seasons (1981), Annie (1982) (as the hammy villainess Miss Hannigan), and Noises Off... (1992). The last two roles had been created onstage by Broadway's Dorothy Loudon.
Carol would return from time to time to the stage and concert forums with productions of "Plaza Suite", "I Do! I Do", "Follies", "Company" and "Putting It Together". A second Tony nomination came for her comedy work in "Moon Over Buffalo" in 1995. Carol has made frequent appearances on her own favorite TV shows too, such as Password (1961) (along with Elizabeth Montgomery, Carol was considered one of the show's best players) and the daytime soaper, All My Children (1970).
During the early 1990s, Carol attempted a TV comeback of sorts, with a couple of new variety formats in Carol & Company (1990) and The Carol Burnett Show (1991), but neither could recreate the magic of the original. She has appeared, sporadically, on various established shows such as "Magnum, P.I.," "Touched by an Angel," "Mad About You" (for which she won an Emmy), "Desperate Housewives," "Law & Order: Special Victims Unit (Emmy nomination), "Hawaii Five-0," "Glee" and "Hot in Cleveland." Befitting such a classy clown, she has received a multitude of awards over time, including the 2003 Kennedy Center Honors and the Presidential Medal of Freedom in 2005. She was inducted into the Television Hall of Fame in 1985. Her personal life has been valiant--tears in between the laughs. Married three times, her second union with jazz-musician-turned-variety-show-producer Joe Hamilton produced three daughters. Eldest girl, Carrie Hamilton, an actress and former teen substance abuser, tragically died of lung and brain cancer at age 38. Shortly before Carrie's death, mother and daughter managed to write a play, together, entitled "Hollywood Arms", based on Carol's 1986 memoir, "One More Time". The show subsequently made it to Broadway.
Today, at age 80 plus, Carol has been seen less frequently but still continues to make appearances, especially on TV. Most recently she has guested on the shows "Glee," "Hot in Cleveland" and the revivals of "Hawaii Five-0" and "Mad About You." As always she signs off a live appearance with her signature ear tug (acknowledging her late grandmother), reminding us all, between the wisecracks and the songs, how glad and lucky we all are to still have some of "this time together".- Actor
- Writer
- Producer
Sylvester Stallone is an athletically built, dark-haired American actor/screenwriter/director/producer, the movie fans worldwide have been flocking to see Stallone's films for over 40 years, making "Sly" one of Hollywood's biggest-ever box office draws.
Sylvester Stallone was born on July 6, 1946, in New York's gritty Hell's Kitchen, to Jackie Stallone (née Labofish), an astrologer, and Frank Stallone, a beautician and hairdresser. His father was an Italian immigrant, and his mother's heritage is half French (from Brittany) and half German. The young Stallone attended the American College of Switzerland and The University of Miami, eventually obtaining a B.A. degree. Initially, he struggled in small parts in films such as the soft-core The Party at Kitty and Stud's (1970), the thriller Klute (1971) and the comedy Bananas (1971). He got a crucial career break alongside fellow young actor Henry Winkler, sharing lead billing in the effectively written teen gang film The Lords of Flatbush (1974). Further film and television roles followed, most of them in uninspiring productions except for the opportunity to play a megalomaniac, bloodthirsty race driver named "Machine Gun Joe Viterbo" in the Roger Corman-produced Death Race 2000 (1975). However, Stallone was also keen to be recognized as a screenwriter, not just an actor, and, inspired by the 1975 Muhammad Ali-Chuck Wepner fight in Cleveland, Stallone wrote a film script about a nobody fighter given the "million to one opportunity" to challenge for the heavyweight title. Rocky (1976) became the stuff of cinematic legends, scoring ten Academy Award nominations, winning the Best Picture Award of 1976 and triggering one of the most financially successful movie series in history! Whilst full credit is wholly deserved by Stallone, he was duly supported by tremendous acting from fellow cast members Talia Shire, Burgess Meredith and Burt Young, and director John G. Avildsen gave the film an emotive, earthy appeal from start to finish. Stallone had truly arrived on his terms, and offers poured in from various studios eager to secure Hollywood's hottest new star.
Stallone followed Rocky (1976) with F.I.S.T. (1978), loosely based on the life of Teamsters boss "Jimmy Hoffa", and Paradise Alley (1978) before pulling on the boxing gloves again to resurrect Rocky Balboa in the sequel Rocky II (1979). The second outing for the "Italian Stallion" wasn't as powerful or successful as the first "Rocky", however, it still produced strong box office. Subsequent films Nighthawks (1981) and Victory (1981) failed to ignite with audiences, so Stallone was once again lured back to familiar territory with Rocky III (1982) and a fearsome opponent in "Clubber Lang" played by muscular ex-bodyguard Mr. T. The third "Rocky" installment far outperformed the first sequel in box office takings, but Stallone retired his prizefighter for a couple of years as another series was about to commence for the busy actor.
The character of Green Beret "John Rambo" was the creation of Canadian-born writer David Morrell, and his novel was adapted to the screen with Stallone in the lead role in First Blood (1982), also starring Richard Crenna and Brian Dennehy. The movie was a surprise hit that polarized audiences because of its commentary about the Vietnam war, which was still relatively fresh in the American public's psyche. Political viewpoints aside, the film was a worldwide smash, and a sequel soon followed with Rambo: First Blood Part II (1985), which drew even stronger criticism from several quarters owing to the film's plot line about American MIAs allegedly being held in Vietnam. But they say there is no such thing as bad publicity, and "John Rambo's" second adventure was a major money spinner for Stallone and cemented him as one of the top male stars of the 1980s. Riding a wave of amazing popularity, Stallone called on old sparring partner Rocky Balboa to climb back into the ring to defend American pride against a Soviet threat in the form of a towering Russian boxer named "Ivan Drago" played by curt Dolph Lundgren in Rocky IV (1985). The fourth outing was somewhat controversial with "Rocky" fans, as violence levels seemed excessive compared to previous "Rocky" films, especially with the savage beating suffered by Apollo Creed, played by Carl Weathers, at the hands of the unstoppable "Siberian Express".
Stallone continued forward with a slew of macho character-themed films that met with a mixed reception from his fans. Cobra (1986) was a clumsy mess, Over the Top (1987) was equally mediocre, Rambo III (1988) saw Rambo take on the Russians in Afghanistan, and cop buddy film Tango & Cash (1989) just did not quite hit the mark, although it did feature a top-notch cast and there was chemistry between Stallone and co-star Kurt Russell.
Philadelphia's favorite mythical boxer moved out of the shadows for his fifth screen outing in Rocky V (1990) tackling Tommy "Machine" Gunn played by real-life heavyweight fighter Tommy Morrison, the great-nephew of screen legend John Wayne. Sly quickly followed with the lukewarm comedy Oscar (1991), the painfully unfunny Stop! Or My Mom Will Shoot (1992), the futuristic action film Demolition Man (1993), and the comic book-inspired Judge Dredd (1995). Interestingly, Stallone then took a departure from the gung-ho steely characters he had been portraying to stack on a few extra pounds and tackle a more dramatically challenging role in the intriguing Cop Land (1997), also starring Robert De Niro and Ray Liotta. It isn't a classic of the genre, but Cop Land (1997) certainly surprised many critics with Stallone's understated performance. Stallone then lent his vocal talents to the animated adventure story Antz (1998), reprised the role made famous by Michael Caine in a terrible remake of Get Carter (2000), climbed back into a race car for Driven (2001), and guest-starred as the "Toymaker" in the third chapter of the immensely popular "Spy Kids" film series, Spy Kids 3: Game Over (2003). Showing that age had not wearied his two most popular series, Stallone has most recently brought back never-say-die boxer Rocky Balboa to star in, well, what else but Rocky Balboa (2006), and Vietnam veteran Rambo (2008) will reappear after a 20-year hiatus to once again right wrongs in the jungles of Thailand.
Love him or loathe him, Sylvester Stallone has built an enviable and highly respected career in Hollywood, plus, he has considerably influenced modern popular culture through several of his iconic film characters.- Actor
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Michael Caine was born as Maurice Joseph Micklewhite in London, to Ellen (née Burchell), a cook, and Maurice Micklewhite Sr., a fish-market porter. He had a younger brother, Stanley Caine, and an older maternal half-brother named David Burchell. He left school at age 15 and took a series of working-class jobs before joining the British army and serving in Korea during the Korean War, where he saw combat. Upon his return to England, he gravitated toward the theater and got a job as an assistant stage manager. He adopted the name of Caine on the advice of his agent, taking it from a marquee that advertised The Caine Mutiny (1954). In the years that followed, he worked in more than 100 television dramas, with repertory companies throughout England and eventually in the stage hit "The Long and the Short and the Tall".
Zulu (1964), the epic retelling of a historic 19th-century battle in South Africa between British soldiers and Zulu warriors, brought Caine to international attention. Instead of being typecast as a low-ranking Cockney soldier, he played a snobbish, aristocratic officer. Although "Zulu" was a major success, it was the role of Harry Palmer in The Ipcress File (1965) and the title role in Alfie (1966) that made Caine a star of the first magnitude. He epitomized the new breed of actor in mid-1960s England, the working-class bloke with glasses and a down-home accent. However, after initially starring in some excellent films, particularly in the 1960s, including Gambit (1966), Funeral in Berlin (1966), Play Dirty (1969), Battle of Britain (1969), Too Late the Hero (1970), The Last Valley (1971) and especially Get Carter (1971), he seemed to take on roles in below-average films, simply for the money he could by then command.
However, there were some gems amongst the dross. He gave a magnificent performance opposite Sean Connery in The Man Who Would Be King (1975) and turned in a solid one as a German colonel in The Eagle Has Landed (1976). Educating Rita (1983), Blame It on Rio (1984) and Hannah and Her Sisters (1986) (for which he won his first Oscar) were highlights of the 1980s, while more recently Little Voice (1998), The Cider House Rules (1999) (his second Oscar) and Last Orders (2001) have been widely acclaimed. Caine played Nigel Powers in the parody sequel Austin Powers in Goldmember (2002), and Alfred Pennyworth in Christopher Nolan's Dark Knight trilogy. He appeared in several other of Nolan's films including The Prestige (2006), Inception (2010) and Interstellar (2014). He also appeared as a supporting character in Alfonso Cuarón's Children of Men (2006) and Pixar's sequel Cars 2 (2011).
As of 2015, films in which Caine has starred have grossed over $7.4 billion worldwide. He is ranked the ninth highest grossing box office star. Caine is one of several actors nominated for an Academy Award for acting every decade from five consecutive decades (the other being Laurence Olivier and Meryl Streep). He was appointed Commander of the Order of the British Empire in the 1992 Birthday Honours, and was knighted by Queen Elizabeth II in the 2000 Birthday Honours in recognition for his contributions to the cinema.
Caine has been married twice. First to actress Patricia Haines from 1954 to 1958. They had a daughter, Dominique, in 1957. A bachelor for some dozen-plus years after the divorce, he was romantically linked to Edina Ronay (for three years), Nancy Sinatra, Natalie Wood, Candice Bergen, Bianca Jagger, Françoise Pascal and Jill St. John. In 1971 he met his second wife, fashion model Shakira Caine (née Baksh), and they married in 1973, six months before their daughter Natasha was born. The couple has three grandchildren, and in 2023, they celebrated their 50th wedding anniversary.- Actor
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Simply he was, and for many people still is, the greatest football player of the world. Not a single thing was impossible for him: he won three World Cups with his National Team of Brazil (Sweden 1958, Chile 1962, Mexico 1970). He scored more than 1.200 goals during his long career (more than 1.300 official matches). He also won many national Leagues and Continental Cups ("Copa Libertadores"), with his team, the Santos Futebol Clube (of Brazilian 'São Paulo' State). In the '60s, he was nick-named "O Rei" (The King), and in the '70s, ninety-five people out of 100 knew his name. ("Wow, man, you're popular!" said Robert Redford, some years ago, after seeing Pelé give dozens of autographs in New York while he was not asked for one). In the late 1960s, when he and his team, Santos, went to Nigeria to play a few friendly matches, the ongoing civil war stopped for the duration of his visit. He finished his career in the New York Cosmos, in 1977. He later became a United Nations Ambassador and has been also Minister for Sports in his country, but, for the people who saw him make magics with his right foot, he is, now and forever, the biggest footballer in the world, and the one and only "King".- Gaunt character actor Brad Dourif was born Bradford Claude Dourif on March 18, 1950 in Huntington, West Virginia. He is the son of Joan Mavis Felton (Bradford) and Jean Henri Dourif, a French-born art collector who owned and operated a dye factory. His father died when Dourif was three years old, after which his mother married Bill Campbell, a champion golfer, who helped raise Brad, his brother, and his four sisters. From 1963 to 1965, Dourif attended Aiken Preparatory School in Aiken, South Carolina, where he pursued his interests in art and acting. Although he briefly considered becoming a professional artist, he finally settled on acting as a profession, inspired by his mother's participation as an actress in community theater.
Beginning in school productions, he progressed to community theater, joining up with the Huntington Community Players, while attending Marshall University of Huntington. At age 19, he quit his hometown college and headed to New York City, where he worked with the Circle Repertory Company. During the early 1970s, Dourif appeared in a number of plays, off-Broadway and at Woodstock, New York, including Milos Forman who cast him in One Flew Over the Cuckoo's Nest (1975). Although this film is frequently cited as his film debut, in fact, Dourif made his first big-screen appearance with a bit part in W.W. and the Dixie Dancekings (1975). Nevertheless, his portrayal of the vulnerable Billy Bibbit in Forman's film was undoubtedly his big break, earning him a Golden Globe Award for Best Acting Debut, a British Academy Film Award for Best Supporting Actor, and an Oscar nomination for Best Supporting Actor.
Skeptical of his instant stardom, Dourif returned to New York, where he continued in theater and taught acting and directing classes at Columbia University until 1988 when he moved to Hollywood. Despite his attempts to avoid typecasting, his intensity destined him to play eccentric or deranged characters, starting in Eyes of Laura Mars (1978), John Huston's Wise Blood (1979) (arguably his best performance to date), and Milos Forman's Ragtime (1981). Dourif then teamed up with director David Lynch for Dune (1984) and Blue Velvet (1986). His high-strung style also served him well in a number of horror films, notably as the voice of the evil doll Chucky in Child's Play (1988) and its sequels.
Dourif broke from the horror genre with roles in Fatal Beauty (1987), Mississippi Burning (1988), Hidden Agenda (1990) and London Kills Me (1991). Recent film work includes the role of Grima Wormtongue in Peter Jackson's Lord of the Rings trilogy. Since his television debut in the PBS film The Mound Builders (1976), Dourif has made sporadic appearances on a number of television series, such as The X-Files (1993), Babylon 5 (1993), Star Trek: Voyager (1995), Millennium (1996) and Ponderosa (2001). He also appeared in the music video "Stranger in Town" (1984) by the rock band TOTO. - Actor
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An eccentric rebel of epic proportions, this Hollywood titan reigned supreme as director, screenwriter and character actor in a career that endured over five decades. The ten-time Oscar-nominated legend was born John Marcellus Huston in Nevada, Missouri, on August 5, 1906. His ancestry was English, Scottish, Scots-Irish, distant German and very remote Portuguese. The age-old story goes that the small town of his birth was won by John's grandfather in a poker game. John's father was the equally magnanimous character actor Walter Huston, and his mother, Rhea Gore, was a newspaperwoman who traveled around the country looking for stories. The only child of the couple, John began performing on stage with his vaudevillian father at age 3. Upon his parents' divorce at age 7, the young boy would take turns traveling around the vaudeville circuit with his father and the country with his mother on reporting excursions. A frail and sickly child, he was once placed in a sanitarium due to both an enlarged heart and kidney ailment. Making a miraculous recovery, he quit school at age 14 to become a full-fledged boxer and eventually won the Amateur Lightweight Boxing Championship of California, winning 22 of 25 bouts. His trademark broken nose was the result of that robust activity.
John married his high school sweetheart, Dorothy Harvey, and also took his first professional stage bow with a leading role off-Broadway entitled "The Triumph of the Egg." He made his Broadway debut that same year with "Ruint" on April 7, 1925, and followed that with another Broadway show "Adam Solitaire" the following November. John soon grew restless with the confines of both his marriage and acting and abandoned both, taking a sojourn to Mexico where he became an officer in the cavalry and expert horseman while writing plays on the sly. Trying to control his wanderlust urges, he subsequently returned to America and attempted newspaper and magazine reporting work in New York by submitting short stories. He was even hired at one point by mogul Samuel Goldwyn Jr. as a screenwriter, but again he grew restless. During this time he also appeared unbilled in a few obligatory films. By 1932 John was on the move again and left for London and Paris where he studied painting and sketching. The promising artist became a homeless beggar during one harrowing point.
Returning again to America in 1933, he played the title role in a production of "Abraham Lincoln," only a few years after father Walter portrayed the part on film for D.W. Griffith. John made a new resolve to hone in on his obvious writing skills and began collaborating on a few scripts for Warner Brothers. He also married again. Warners was so impressed with his talents that he was signed on as both screenwriter and director for the Dashiell Hammett mystery yarn The Maltese Falcon (1941). The movie classic made a superstar out of Humphrey Bogart and is considered by critics and audiences alike--- 65 years after the fact--- to be the greatest detective film ever made. In the meantime John wrote/staged a couple of Broadway plays, and in the aftermath of his mammoth screen success directed bad-girl 'Bette Davis (I)' and good girl Olivia de Havilland in the film melodrama In This Our Life (1942), and three of his "Falcon" stars (Bogart, Mary Astor and Sydney Greenstreet) in the romantic war picture Across the Pacific (1942). During WWII John served as a Signal Corps lieutenant and went on to helm a number of film documentaries for the U.S. government including the controversial Let There Be Light (1980), which father Walter narrated. The end of WWII also saw the end of his second marriage. He married third wife Evelyn Keyes, of "Gone With the Wind" fame, in 1946 but it too lasted a relatively short time. That same year the impulsive and always unpredictable Huston directed Jean-Paul Sartre's experimental play "No Exit" on Broadway. The show was a box-office bust (running less than a month) but nevertheless earned the New York Drama Critics Award as "best foreign play."
Hollywood glory came to him again in association with Bogart and Warner Brothers'. The Treasure of the Sierra Madre (1948), a classic tale of gold, greed and man's inhumanity to man set in Mexico, won John Oscars for both director and screenplay and his father nabbed the "Best Supporting Actor" trophy. John can be glimpsed at the beginning of the movie in a cameo playing a tourist, but he wouldn't act again on film for a decade and a half. With the momentum in his favor, John hung around in Hollywood this time to write and/or direct some of the finest American cinema made including Key Largo (1948) and The African Queen (1951) (both with Bogart), The Asphalt Jungle (1950), The Red Badge of Courage (1951) and Moulin Rouge (1952). Later films, including Moby Dick (1956), The Unforgiven (1960), The Misfits (1961), Freud (1962), The Night of the Iguana (1964) and The Bible in the Beginning... (1966) were, for the most part, well-regarded but certainly not close to the level of his earlier revered work. He also experimented behind-the-camera with color effects and approached topics that most others would not even broach, including homosexuality and psychoanalysis.
An ardent supporter of human rights, he, along with director William Wyler and others, dared to form the Committee for the First Amendment in 1947, which strove to undermine the House Un-American Activities Committee. Disgusted by the Hollywood blacklisting that was killing the careers of many talented folk, he moved to St. Clerans in Ireland and became a citizen there along with his fourth wife, ballet dancer Enrica (Ricki) Soma. The couple had two children, including daughter Anjelica Huston who went on to have an enviable Hollywood career of her own. Huston and wife Ricki split after a son (director Danny Huston) was born to another actress in 1962. They did not divorce, however, and remained estranged until her sudden death in 1969 in a car accident. John subsequently adopted his late wife's child from another union. The ever-impulsive Huston would move yet again to Mexico where he married (1972) and divorced (1977) his fifth and final wife, Celeste Shane.
Huston returned to acting auspiciously with a major role in Otto Preminger's epic film The Cardinal (1963) for which Huston received an Oscar nomination at age 57. From that time forward, he would be glimpsed here and there in a number of colorful, baggy-eyed character roles in both good and bad (some positively abysmal) films that, at the very least, helped finance his passion projects. The former list included outstanding roles in Chinatown (1974) and The Wind and the Lion (1975), while the latter comprised of hammy parts in such awful drek as Candy (1968) and Myra Breckinridge (1970).
Directing daughter Angelica in her inauspicious movie debut, the thoroughly mediocre A Walk with Love and Death (1969), John made up for it 15 years later by directing her to Oscar glory in the mob tale Prizzi's Honor (1985). In the 1970s Huston resurged as a director of quality films with Fat City (1972), The Man Who Would Be King (1975) and Wise Blood (1979). He ended his career on a high note with Under the Volcano (1984), the afore-mentioned Prizzi's Honor (1985) and The Dead (1987). His only certifiable misfire during that era was the elephantine musical version of Annie (1982), though it later became somewhat of a cult favorite among children.
Huston lived the macho, outdoors life, unencumbered by convention or restrictions, and is often compared in style or flamboyancy to an Ernest Hemingway or Orson Welles. He was, in fact, the source of inspiration for Clint Eastwood in the helming of the film White Hunter Black Heart (1990) which chronicled the making of "The African Queen." Illness robbed Huston of a good portion of his twilight years with chronic emphysema the main culprit. As always, however, he continued to work tirelessly while hooked up to an oxygen machine if need be. At the end, the living legend was shooting an acting cameo in the film Mr. North (1988) for his son Danny, making his directorial bow at the time. John became seriously ill with pneumonia and died while on location at the age of 81. This maverick of a man's man who was once called "the eccentric's eccentric" by Paul Newman, left an incredibly rich legacy of work to be enjoyed by film lovers for centuries to come.- Actor
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The tall, handsome and muscular Scottish actor Sean Connery is best known as the original actor to portray James Bond in the hugely successful movie franchise, starring in seven films between 1962 and 1983. Some believed that such a career-defining role might leave him unable to escape it, but he proved the doubters wrong, becoming one of the most notable film actors of his generation, with a host of great movies to his name. This arguably culminated in his greatest acclaim in 1988, when Connery won the Academy Award for Best Supporting Actor for his role as an Irish cop in The Untouchables (1987), stealing the thunder from the movie's principal star Kevin Costner. Connery was polled as "The Greatest Living Scot" and "Scotland's Greatest Living National Treasure". In 1989, he was proclaimed "Sexiest Man Alive" by People magazine, and in 1999, at age 69, he was proclaimed "Sexiest Man of the Century."
Thomas "Sean" Connery was born on August 25, 1930 in Fountainbridge, Edinburgh. His mother, Euphemia Maclean, was a cleaning lady, and his father, Joseph Connery, was a factory worker and truck driver. He also had a, Neil Connery, a plasterer in Edinburgh, who was eight years younger. Before going into acting, Sean had many different jobs, such as a milkman, lorry driver, a laborer, artist's model for the Edinburgh College of Art, coffin polisher and bodybuilder. He also joined the Royal Navy, but was later discharged because of medical problems. At the age of 23, he had a choice between becoming a professional soccer player or an actor, and even though he showed much promise in the sport, he chose acting and said it was one of his more intelligent decisions.
No Road Back (1957) was Sean's first major movie role, and it was followed by several made-for-TV movies such as Anna Christie (1957), Macbeth (1961) and Anna Karenina (1961) as well as guest appearances on TV series, and also films such as Hell Drivers (1957), Another Time, Another Place (1958), Darby O'Gill and the Little People (1959) and The Frightened City (1961). In 1962 he appeared in The Longest Day (1962) with a host of other stars.
His big breakthrough came in 1962 when he landed the role of secret agent James Bond in Dr. No (1962). He played James Bond in six more films: From Russia with Love (1963), Goldfinger (1964), Thunderball (1965), You Only Live Twice (1967), Diamonds Are Forever (1971) and Never Say Never Again (1983).
After and during the success of the Bond films, he maintained a successful career as an actor and has appeared in films, including Alfred Hitchcock's Marnie (1964), The Hill (1965), Murder on the Orient Express (1974), The Man Who Would Be King (1975), The Wind and the Lion (1975), Time Bandits (1981), Highlander (1986), The Name of the Rose (1986), Indiana Jones and the Last Crusade (1989), The Hunt for Red October (1990), Rising Sun (1993), The Rock (1996), Finding Forrester (2000) and The League of Extraordinary Gentlemen (2003).
Sean married actress Diane Cilento in 1962 and they had Sean's only child, Jason Connery, born on January 11, 1963. The couple announced their separation in February 1971 and filed for divorce 2½ years later. Sean then dated Jill St. John, Lana Wood, Magda Konopka and Carole Mallory. In 1975 he married Micheline Roquebrune and they stayed married, despite Sean's well-documented love affair with Lynsey de Paul in the late '80s. Sean had three stepchildren through his marriage to Micheline, who was one year his senior. He is also a grandfather. His son, Jason and Jason's ex-wife, actress Mia Sara had a son, Dashiell Connery, in 1997.
Sean Connery died at the age of 90 on October 31, 2020, in Nassau, the Bahamas, where he resided for many years.- Actor
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Legendary actor Christopher Plummer, perhaps Canada's greatest thespian, delivered outstanding performances as Sherlock Holmes in Murder by Decree (1979), the chilling villain in The Silent Partner (1978), the iconoclastic Mike Wallace in The Insider (1999), the empathetic psychiatrist in A Beautiful Mind (2001), the kindly and clever mystery writer in Knives Out (2019), and as Leo Tolstoy in The Last Station (2009). It was this last role that finally brought him recognition from the Academy of Motion Picture Arts & Sciences, when he was nominated as Best Actor in a Supporting Role, one of three Academy Award nominations he received in the 2010s, along with All the Money in the World (2017) (as J. Paul Getty) and Beginners (2010); he won for the latter role. He will also likely always be remembered as Captain Von Trapp in the atomic bomb-strength blockbuster The Sound of Music (1965), a film he publicly despised until softening his stance in his autobiography "In Spite of Me" (2008).
Christopher Plummer was born Arthur Christopher Orme Plummer on December 13, 1929 in Toronto, Ontario. He was the only child of Isabella Mary (Abbott), a secretary to the Dean of Sciences at McGill University, and John Orme Plummer, who sold securities and stocks. Christopher was a great-grandson of John Abbott, who was Canada's third Prime Minister (from 1891 to 1892), and a great-great-great-grandson of Presbyterian clergyman John Bethune. He had Scottish, English, Anglo-Irish, and Cornish ancestry. Plummer was raised in Senneville, Quebec, near Montreal, at his maternal grandparents' home.
Aside from the youngest member of the Barrymore siblings (which counted Oscar-winners Ethel Barrymore and Lionel Barrymore in their number), Plummer was the premier Shakespearean actor to come out of North America in the 20th century. He was particularly memorable as Hamlet, Iago and Lear, though his Macbeth opposite Glenda Jackson was -- and this was no surprise to him due to the famous curse attached to the "Scottish Play" -- a failure.
Like another great stage actor, Richard Burton, early in his career Plummer failed to connect with the screen in a way that would make him a star. Dynamic on stage, he didn't succeed as a younger leading man in films. Perhaps if he had been born earlier, and acted in the studio system of Hollywood's golden age, he could have been carefully groomed for stardom. As it was, he shared the English stage actors' disdain -- and he was equally at home in London as he was on the boards of Broadway or on-stage in his native Canada -- for the movies, which did not help him in that medium, as he has confessed. As he aged, Plummer excelled at character roles. He was always a good villain, this man who garnered kudos playing Lucifer on Broadway in Archibald Macleish's Pulitzer Prize-winning "J.B.".
Plummer won two Emmy Awards out of seven nominations stretching 46 years from 1959 and 2011, and one Genie Award in six nominations from 1980 to 2009. For his stage work, Plummer has racked up two Tony Awards on six nominations, the first in 1974 as Best Actor (Musical) for the title role in "Cyrano" and the second in 1997, as Best Actor (Play), in "Barrymore". Surprisingly, he did not win (though he was nominated) for his masterful 2004 performance of "King Lear", which he originated at the Stratford Festival in Ontario and brought down to Broadway for a sold-out run. His other Tony nominations show the wide range of his talent, from a 1959 nod for the Elia Kazan-directed production of Macleish's "J.B." to recognition in 1994 for Harold Pinter's "No Man's Land", with a 1982 Best Actor (Play) nomination for his "Iago" in William Shakespeare's "Othello".
Until the 2009 Academy Awards were announced, it could be said about Plummer that he was the finest actor of the post-World War II period to fail to get an Academy Award. In that, he was following in the footsteps of the late great John Barrymore, whom Plummer so memorably portrayed on Broadway in a one-man show that brought him his second Tony Award. In 2010, Plummer finally got an Oscar nod for his portrayal of another legend, Lev Tolstoy in The Last Station (2009). Two years later, the first paragraph of his obituary was written when the 82-year-old Plummer became the oldest person in Academy history to win an Oscar. He won for playing a senior citizen who comes out as gay after the death of his wife in the movie Beginners (2010). As he clutched his statuette, the debonaire thespian addressed it thus: "You're only two years older than me darling, where have you been all of my life?"
Plummer then told the audience that at birth, "I was already rehearsing my Academy acceptance speech, but it was so long ago mercifully for you I've forgotten it." The Academy Award was a long time in coming and richly deserved.
Plummer gave many other fine portrayals on film, particularly as he grew older and settled down into a comfortable marriage with his third wife Elaine. He continued to be an in-demand character actor in prestigious motion pictures. If he were English rather than Canadian, he would have been knighted. (In 1968, he was appointed Companion of the Order of Canada, the country's highest civilian honor and one which required the approval of the sovereign, Queen Elizabeth II.) If he lived in the company town of Los Angeles rather than in Connecticut, he likely would have several more Oscar nominations before winning his first for "The Last Station".
As it is, as attested to in his witty and well-written autobiography, Plummer was amply rewarded in life. In 1970, Plummer - then a self-confessed 43-year-old "bottle baby" - married his third wife Elaine Taylor, a dancer, who helped wean him off his dependency on alcohol. They lived happily with their dogs on a 30-acre estate in Weston, Connecticut. He thanked her from the stage during the 2012 Oscar telecast, quipping that she "deserves the Nobel Peace Prize for coming to my rescue every day of my life." Although he spent the majority of his time in the United States, he remained a Canadian citizen. He died in his Weston, Connecticut home on February 5, 2021 at age 91.
His daughter, with actress Tammy Grimes, is actress Amanda Plummer.- 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, 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.- Dominique Sanda was born in 1951, in Paris, France. When she was 16, she left her upper-class family and married, but divorced two years later. She found a temporary job as a Vogue model, when Robert Bresson gave her the starring part in his absorbing drama A Gentle Woman (1969); she was quite impressive as a young woman who commits suicide when she finds out that her husband is unable to love her for what she really is. She was then offered the female lead in Vittorio De Sica's The Garden of the Finzi-Continis (1970), as the provocative daughter of a rich Jewish family. Afterwards, she worked with Bernardo Bertolucci on the much-discussed The Conformist (1970), as the sensual wife of an anti-fascist professor, and co-starred with Paul Newman in John Huston's spy thriller, The MacKintosh Man (1973). She worked again with Bertolucci in the epic, 1900 (1976), and won the Cannes Film Festival Best Actress Prize for her performance in Mauro Bolognini's The Inheritance (1976), as an Italian patriarch's daughter-in-law. She gave one more unforgettable performance in Jacques Demy's original musical, A Room in Town (1982), as a femme fatale. Today, in her seventies, she is still busy, appearing in international films and TV series.
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James Mason was born in Huddersfield and had a film career spanning over 50 years during which he appeared in over 100 films in England and America but never won an Oscar. Whatever role he played, from the wounded Belfast gunman in Odd Man Out to Rommel in The Desert Fox, his creamy velvet voice gave him away. Like Charlie Chaplin James left the screen to spend his later life living in Switzerland. His first marriage had been to Pamela Kellino, a Yorkshire mill owner's daughter and his second to Australian actress Clarissa Kaye.- Actor
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Stacy Keach has played to grand success a constellation of the classic and contemporary stage's greatest roles, and he is considered a pre-eminent American interpreter of Shakespeare. His SRO run as "King Lear" at the Shakespeare Theatre Company in Washington, D.C. received the best reviews any national leader has earned in that town for decades. Peter Marks of the Washington Post called Mr. Keach's Lear "magnificent". He recently accepted his third prestigious Helen Hayes Award for Leading Actor in 2010 for his stellar performance. His next stage appearance premiering January 13, 2011 at the Lincoln Center in New York is "Other Desert Cities" by Jon Robin Baitz and teaming him with Stockard Channing, Linda Lavin and Elizabeth Marvel.
His latest television series, Lights Out (2011), on the FX network is a major new mid-season dramatic show, taking him back to the world of boxing which has been a rich setting for him before, notably in Huston's Fat City (1972) which ignited Keach's career as a film star.
Versatility embodies the essence of Stacy Keach's career in film and television as well as on stage. The range of his roles is remarkable. His recent performance in Oliver Stone's "W" prompted fellow actor Alec Baldwin to blog an impromptu review matching Huston's amazement at Keach's power. Perhaps best known around the world for his portrayal of the hard-boiled detective, Mike Hammer, Stacy Keach is also well-known among younger generations for his portrayal of the irascible, hilarious Dad, Ken Titus, in the Fox sitcom, Titus, and more recently as Warden Henry Pope in the hit series, Prison Break. Following his triumphant recent title role performance in King Lear for the prestigious Goodman Theatre in Chicago, Keach joined the starring cast of John Sayles' recent film, Honeydripper. In the most recent of his non-stop activities, he has completed filming Deathmatch for the Spike Channel, and The Boxer for Zeitsprung Productions in Berlin, Germany.
German audiences will also see him as one of the co-stars in the multi-million dollar production of Hindenburg: The Last Flight (2011), scheduled to air in January, 2011 with worldwide release thereafter. Mr. Keach co-stars in the new FX series entitled Lights Out (2011) about a boxing family, where he plays the Dad-trainer of two boxing sons played by Holt McCallany and Pablo Schreiber. The series is also scheduled to air in January, 2011. Keach returns to the New York stage at the start of the 2011 in Jon Robin Baitz's new play, "Other Desert Cities," at the Lincoln Center.
Capping his heralded accomplishment on the live stage of putting his own stamp on some of the theatre world's most revered and challenging roles over the past year when he headed the national touring company cast of "Frost/Nixon," portraying Richard M. Nixon, bringing still another riveting characterization to the great legit stages of Los Angeles, Chicago, Boston, the nation's capitol and other major cities. He won his second Best Actor Helen Hayes Award for his outstanding performance. His second triumphant portrayal of King Lear in the past three years, this time for the Shakespeare Theatre Company in the nation's capital earned reviews heard around the world, with resulting offers for him to repeat that giant accomplishment in New York, Los Angeles and even Beijing.
An accomplished pianist and composer, Mr. Keach composed the music for the film, Imbued (2009), directed by Rob Nilssen, a celebrated film festival favorite, in which Keach also starred. He has also completed composing the music for the Mike Hammer audio radio series, "Encore For Murder", written by Max Collins, directed by Carl Amari, and produced by Blackstone Audio.
Mr. Keach began his film career in the late 1960's with _The Heart Is A Lonely Hunter_, followed by _The New Centurions_ with George C. Scott; Doc Holiday with Faye Dunaway in the film 'Doc' (1971); an over-the-hill boxer,Billy Tully in Fat City (1972); directed by John Huston, and The Long Riders (1980), which he co-produced and co-wrote with his brother, James Keach, directed by Walter Hill. On the lighter side, his characterization of Sgt. Stedenko in Cheech and Chong's Up in Smoke (1978), and the sequel, Nice Dreams (1981), gave a whole new generation a taste of Mr. Keach's comedic flair, which he also demonstrated in Robert Altman's Brewster McCloud (1970), playing the oldest living lecherous Wright Brother; and The Life and Times of Judge Roy Bean (1972) where he played a crazed albino out to kill Paul Newman.
Historical roles have always attracted him. In movies he has played roles ranging from Martin Luther to Frank James. On television he has been Napoleon, Wilbur Wright, J. Robert Oppenheimer, Barabbas, Sam Houston, and Ernest Hemingway, for which he won a Golden Globe as Best Actor in a mini-series and was nominated for an Emmy in the same category. He played an eccentric painter, Mistral, in the Judith Krantz classic, Mistral's Daughter (1984), a northern spy in the civil war special, The Blue and the Gray (1982), more recently as the pirate Benjamin Hornigold in the Hallmark epic Blackbeard (2006).
As a director, his production of Arthur Miller's Incident at Vichy (1973) for PBS was, according to Mr. Miller in his autobiography, Timebends, "the most expressive production of that play he had seen." He won a Cine Golden Eagle Award for his work on the dramatic documentary, The Repeater, in which he starred and also wrote and directed.
But it is perhaps the live theatre where Mr. Keach shines brightest. He began his professional career with the New York Shakespeare Festival in 1964, doubling as Marcellus and the Player King in a production of Hamlet directed by Joseph Papp and which featured Julie Harris as Ophelia. He rose to prominence in 1967 in the Off-Broadway political satire, MacBird, where the title role was a cross between Lyndon Johnson and Macbeth and for which he received the first of his three Obie awards. He played the title roles in Henry 5, Hamlet (which he played 3 times), Richard 3, Macbeth, and most recently as King Lear in Robert Falls' modern adaptation at Chicago's Goodman Theatre, which Charles Isherwood of the NY Times called "terrific" and "a blistering modern-dress production that brings alive the morally disordered universe of the play with a ferocity unmatched by any other production I've seen." Mr. Keach's stage portrayals of Peer Gynt, Falstaff and Cyrano de Bergerac, and Hamlet caused the New York Times to dub him "the finest American classical actor since John Barrymore."
Mr. Keach's Broadway credits include his Broadway debut, Indians, where he played Buffalo Bill and was nominated for a Tony award as Best Actor. He starred in Ira Levin's Deathtrap, the Pulitzer Prize winning Kentucky Cycle (for which he won his first Helen Hayes award as Best Actor), the Rupert Holmes one-man thriller, Solitary Confinement, where Mr. Keach played no less than six roles, all unbeknownst to the audience until the end of the play. In the musical theatre, he starred in the national tour of Barnum, played the King in Camelot for Pittsburgh's Civic Light Opera, and the King in The King and I, which he also toured in Japan. He starred in the Jon Robin Baitz play, Ten Unknowns, at the Mark Taper Forum in 2003. The LA Times said: "And then there's Keach. What a performance! How many actors can manage such thunder and such sweet pain. He's been away from the LA stage too long. Welcome back."
In 2004, he starred as Scrooge in Boston's Trinity Rep musical production of A Christmas Carol; earlier in 2004, he starred as Phil Ochsner in Arthur Miller's last play Finishing The Picture, directed by Robert Falls at the Goodman Theatre.
As a narrator his voice has been heard in countless documentaries; as the host for the Twilight Zone radio series; numerous books on tape, including the Short Stories of Ernest Hemingway. In the year 2000, he recorded a CD of all of Shakespeare's Sonnets. He recently recorded the voice of St. Paul for a new audio version of The New Testament:, The Word of Promise and Job for the Old Testament edition. He is the narrator on CNBC's new hit show, American Greed (2007), and recently narrated the award-winning documentary, The Pixar Story (2007). He has also reprised his role as Mike Hammer in the Blackstone audio series, the most recent being "Encore for Murder". A charter-member of LA Theatre Works, Mr. Keach recently played the title role in Bertolt Brecht's Galileo, recorded both for radio and CD. He was seen on CBS's hit show Two and a Half Men (2003) as the gay Dad of Charlie's fiance.
Stacy Keach also believes strongly in 'giving back' and has been the Honorary Chair for the Cleft Palate Foundation for the past twenty-five years. He is also the national spokesman for the World Craniofacial organization. He has served on the Artist's Committee for the Kennedy Center Honors for two decades, is on the board of directors for Genesis at the Crossroads, a Chicago-based organization dedicated to bringing peoples of combatant cultures together through the shared artistic expressions of the visual and culinary arts, music, dance, and theater. He also serves on the artistic board for Washington DC's Shakespeare Theatre National Council, where he was also honored in 2000 with their prestigious Millennium Award for his contribution to classical theatre. Some years ago Hollywood honored him with a Celebrity Outreach Award for his work with charitable organizations.
He has been the recipient of Lifetime Achievement Awards from Pacific Pioneer's Broadcasters, the San Diego Film Festival, the Pacific Palisades Film Festival, and The 2007 Oldenburg Film Festival in Germany. Later this year, he will be awarded the 2010 Lifetime Award from the St. Louis Film Festival. In 2008, he received the Mary Pickford Award for versatility in acting.
Mr. Keach was a Fulbright scholar to the London Academy of Music and Dramatic Art, attended the University of California at Berkeley and the Yale Drama School. He has always been a star of the American stage, especially in Shakespearen roles such as Hamlet, Henry 5, Coriolanus, Falstaff, Macbeth, Richard 3, and most recently, King Lear.
Of his many accomplishments, Mr. Keach claims that his greatest accomplishment is his family. He has been married to his beautiful wife Malgosia for twenty-five years, and they have two wonderful children, Shannon Keach (1988), and daughter Karolina Keach (1990).- Actor
- Producer
- Art Department
Jeffrey Leon Bridges was born on December 4, 1949 in Los Angeles, California, the son of well-known film and TV star Lloyd Bridges and his long-time wife Dorothy Dean Bridges (née Simpson). He grew up amid the happening Hollywood scene with big brother Beau Bridges. Both boys popped up, without billing, alongside their mother in the film The Company She Keeps (1951), and appeared on occasion with their famous dad on his popular underwater TV series Sea Hunt (1958) while growing up. At age 14, Jeff toured with his father in a stage production of "Anniversary Waltz". The "troublesome teen" years proved just that for Jeff and his parents were compelled at one point to intervene when problems with drugs and marijuana got out of hand.
He recovered and began shaping his nascent young adult career appearing on TV as a younger version of his father in the acclaimed TV- movie Silent Night, Lonely Night (1969), and in the strange Burgess Meredith film The Yin and the Yang of Mr. Go (1970). Following fine notices for his portrayal of a white student caught up in the racially-themed Halls of Anger (1970), his career-maker arrived just a year later when he earned a coming-of-age role in the critically-acclaimed ensemble film The Last Picture Show (1971). The Peter Bogdanovich- directed film made stars out off its young leads (Bridges, Timothy Bottoms, Cybill Shepherd) and Oscar winners out of its older cast (Ben Johnson, Cloris Leachman). The part of Duane Jackson, for which Jeff received his first Oscar-nomination (for "best supporting actor"), set the tone for the types of roles Jeff would acquaint himself with his fans -- rambling, reckless, rascally and usually unpredictable).
Owning a casual carefree handsomeness and armed with a perpetual grin and sly charm, he started immediately on an intriguing 70s sojourn into offbeat filming. Chief among them were his boxer on his way up opposite a declining Stacy Keach in Fat City (1972); his Civil War-era conman in the western Bad Company (1972); his redneck stock car racer in The Last American Hero (1973); his young student anarchist opposite a stellar veteran cast in Eugene O'Neill's The Iceman Cometh (1973); his bank-robbing (also Oscar-nominated) sidekick to Clint Eastwood in Thunderbolt and Lightfoot (1974); his aimless cattle rustler in Rancho Deluxe (1975); his low-level western writer who wants to be a real-life cowboy in Hearts of the West (1975); and the brother of an assassinated President who pursues leads to the crime in Winter Kills (1979). All are simply marvelous characters that should have propelled him to the very top rungs of stardom...but strangely didn't.
Perhaps it was his trademark ease and naturalistic approach that made him somewhat under appreciated at that time when Hollywood was run by a Dustin Hoffman, Robert De Niro and Al Pacino-like intensity. Neverthless, Jeff continued to be a scene-stealing favorite into the next decade, notably as the video game programmer in the 1982 science-fiction cult classic Tron (1982), and the struggling musician brother vying with brother Beau Bridges over the attentions of sexy singer Michelle Pfeiffer in The Fabulous Baker Boys (1989). Jeff became a third-time Oscar nominee with his highly intriguing (and strangely sexy) portrayal of a blank-faced alien in Starman (1984), and earned even higher regard as the ever-optimistic inventor Preston Tucker in Tucker: The Man and His Dream (1988).
Since then Jeff has continued to pour on the Bridges magic on film. Few enjoy such an enduring popularity while maintaining equal respect with the critics. The Fisher King (1991), American Heart (1992), Fearless (1993), The Big Lebowski (1998) (now a cult phenomenon) and The Contender (2000) (which gave him a fourth Oscar nomination) are prime examples. More recently he seized the moment as a bald-pated villain as Robert Downey Jr.'s nemesis in Iron Man (2008) and then, at age 60, he capped his rewarding career by winning the elusive Oscar, plus the Golden Globe and Screen Actor Guild awards (among many others), for his down-and-out country singer Bad Blake in Crazy Heart (2009). Bridges next starred in Tron: Legacy (2010), reprising one of his more famous roles, and received another Oscar nomination for Best Actor for his role in the Western remake True Grit (2010). In 2014, he co-produced and starred in an adaptation of the Lois Lowry science fiction drama The Giver (2014).
Jeff has been married since 1977 to non-professional Susan Geston (they met on the set of Rancho Deluxe (1975)). The couple have three daughters, Isabelle (born 1981), Jessica (born 1983), and Hayley (born 1985). He hobbies as a photographer on and off his film sets, and has been known to play around as a cartoonist and pop musician. His ancestry is English, and smaller amounts of Scots-Irish (Northern Irish), Irish, Swiss-German, and German.- Actress
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A bizarre, gloriously one-of-a-kind Hollywood gypsy and self-affirmed outcast, San Francisco-born actress Susan Tyrrell (born Susan Jillian Creamer) was a teenager when she made her stage debut in "Time Out for Ginger" in 1962. A product of the entertainment industry, her father was a top agent at one time with the William Morris firm. She built up her resumé in summer stock and regional plays usually cast in standard ingénue roles. Her nascent career took an abrupt shift in direction, however, when, as a member of New York's Lincoln Repertory Company, she was cast in an array of seamy, salty-tongued, highly dysfunctional character parts. After striking performances on and off Broadway in such fare as "The Rimers of Eldritch" (1967), "A Cry of Players" (1968), "The Time of Your Life" (1969) and "Camino Real" (1970) Hollywood took keen notice of this special talent and, in the early 1970s, began to cast her in their more offbeat projects.
In only her fourth film, Susan earned an Academy Award nomination for her powerhouse portrayal of a cynical, low-life boozer girlfriend opposite Stacy Keach's has-been boxer in John Huston's potent but highly depressing Fat City (1972). Pulling out all the stops after this, she continued to show her fearless attraction toward the dark side throughout the late 1970s with flashy roles in lesser quality material such as The Killer Inside Me (1976), Andy Warhol's Bad (1977), Islands in the Stream (1977), I Never Promised You a Rose Garden (1977), and September 30, 1955 (1977) as various harridans and grotesques. The 1980s proved no different with manic behavior on full display in Tales of Ordinary Madness (1981), Forbidden Zone (1980), Liar's Moon (1981), Fast-Walking (1982), Butcher, Baker, Nightmare Maker (1981), Big Top Pee-wee (1988) and underground director John Waters' more mainstream film Cry-Baby (1990), many of which have now achieved cult status.
Toned down a bit for TV, she nevertheless demonstrated in both the one-season series Open All Night (1981) and on MacGruder and Loud (1985) that she wasn't about to change. When her TV and movie career started to simmer down, the Los Angeles-based actress opted for the avant-garde stage with such productions as "Why Hannah's Skirt Won't Stay Down" (1986), "Landscape of the Body" (1987), "The Geography of Luck" (1989) and her trenchant one-woman piece "My Rotten Life: A Bitter Operetta" (1989), which she performed over a long period of time.
Real-life tragedy struck in late April of 2000 when Susan contracted a near-fatal illness. Both of her legs had to be amputated below the knee as a result of multiple blood clots due to a rare blood disease -- thrombocythemia. Never say die, she valiantly tried to maintain a positive outlook, and continued to perform on occasion while going through rehabilitation. She also spent time writing and painting before passing away on June 16, 2012. A wild, boisterous trooper, she was the definitive underground raconteur for those who desired the more sordid side of Hollywood.- Actress
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Her artistic dreams came early in life and were further supported by her older sister Gerd Andersson who became a ballet dancer at the Royal Opera and made her acting debut in 1951. Bibi, on the other side, had to make do with bit parts and commercials. She debuted in Dum-Bom (1953), playing against Nils Poppe. Eventually, she was able to start at the Royal Dramatic Theatre's acting school in 1954. A brief relationship with Ingmar Bergman made her quit school and follow him to the Malmö city theatre, where he was a director, performing in plays by August Strindberg and Hjalmar Bergman. Bergman also gave her a small part in his comedy Smiles of a Summer Night (1955), and larger roles in his Wild Strawberries (1957) and The Seventh Seal (1957). From the the 1960s she got offers from abroad, with best result in I Never Promised You a Rose Garden (1977). During the civil war in Yugoslavia she has worked with several initiatives to give the people of Sarajevo theatre and other forms of culture.- Actor
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Richard Allen Boone was born in Los Angeles, California, to Cecile Lillian (Beckerman) and Kirk Etna Boone, a wealthy corporate lawyer. His maternal grandparents were Russian Jewish immigrants, while his father was descended from a brother of frontiersmen Daniel Boone and Squire Boone.
Richard was a college student, boxer, painter and oil-field laborer before ending up in the U.S. Navy during World War II. After the war he used the G.I. Bill to study acting with the Actor's Studio in New York. Serious and methodical, Boone debuted on Broadway in the play "Medea". Other plays followed, as did occasional TV work. In 1950 20th Century-Fox signed him to a contract and he made his screen debut in Halls of Montezuma (1951), playing a Marine Corps officer. Tall and craggy, Boone was continually cast in a number of war and western movies. He also tackled roles such as Pontius Pilate in The Robe (1953) and a police detective in Vicki (1953). In 1954 he was cast as Dr. Konrad Styner in the pioneering medical series Medic (1954), which was a critical but not a ratings success. This role lasted for two years, though in the meantime, he continued to appear in westerns and war movies.
In 1957 he played Dr. Wright, who treats Elizabeth for her memory lapses, in Lizzie (1957). It was also in that year that Boone was cast in what is his best-known role, the cultured gunfighter Paladin in the highly regarded western series Have Gun - Will Travel (1957). Although a gun for hire, Paladin was usually a moral one, did the job and lived at the Hotel Carlton in San Francisco. Immensely popular, the show made Boone a star. The series lasted six years, and in addition to starring in it, Boone also directed some episodes. He still kept busy on the big screen during the series' run, appearing as Sam Houston in the John Wayne epic The Alamo (1960), and as a weary cavalry captain fighting Indians in A Thunder of Drums (1961). After Have Gun - Will Travel (1957) ended in 1963, Boone hosted a dramatic anthology series, The Richard Boone Show (1963), but it was not successful.
Boone moved to Hawaii for the next seven years. During this time he made a few Westerns, including the muscular Rio Conchos (1964), but he was largely absent from the screen. In the 1970s he moved to Florida, and resumed his film and TV career with a vengeance. In 1972 he again appeared on television in the Jack Webb-produced series Hec Ramsey (1972) (years before he had played a police captain in Webb's first "Dragnet" film, Dragnet (1954)). Based on a real man, Hec was a tough, grizzled old frontier sheriff at the turn of the 20th century who, late in life, has studied the newest scientific theories of crime detection. His new boss, a much younger man, doesn't always approve of Hec, his nonconformist style or his new methods. The series lasted for two years. Boone continued working until the end of the decade but died as a result of throat cancer in 1981.- Actor
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George Sanders was born of English parents in St. Petersburg, Russia. He worked in a Birmingham textile mill, in the tobacco business and as a writer in advertising. He entered show business in London as a chorus boy, going from there to cabaret, radio and theatrical understudy. His film debut, in 1936, was as Curly Randall in Find the Lady (1936). His U.S. debut, the same year, with Twentieth Century-Fox, was as Lord Everett Stacy in Lloyd's of London (1936). During the late 1930s and early 1940s he made a number of movies as Simon Templar--the Saint--and as Gay Lawrence, the Falcon. He played Nazis (Maj. Quive-Smith in Fritz Lang's Man Hunt (1941)), royalty (Charles II in Otto Preminger's Forever Amber (1947)), and biblical roles (Saran of Gaza in Cecil B. DeMille's Samson and Delilah (1949)). He won the 1950 Academy Award for Best Supporting Actor as theatre critic Addison De Witt in Joseph L. Mankiewicz's All About Eve (1950). In 1957 he hosted a TV series, The George Sanders Mystery Theater (1957). He continued to play mostly villains and charming heels until his suicide in 1972.- Raf Vallone was an internationally acclaimed Italian movie star known for his rugged good looks. The athletic Vallone, a former soccer player who often was compared to Burt Lancaster, was born Raffaele Vallone in 1916 in Tropea in Calabria, Italy, the son of a prominent lawyer and his aristocratic wife. At the University of Turin, Vallone took degrees in law and philosophy and then entered his father's law firm.
Vallone played semi-professional soccer but never realized his dream of becoming a professional athlete. Subsequently, he became a sports reporter for L'Unita, a communist newspaper, and also a drama critic for La Stampa. During World War II, Vallone served with the anti-Fascist resistance.
His first job as a movie actor was a bit part in We the Living (1942) (aka, "We the Living"), but Vallone was not serious about acting as a career. Hired as a researcher on a film about labor unrest, director Giuseppe De Santis cast Vallone as a soldier competing with Vittorio Gassman for the love of Silvana Mangano in what became the neo-realist classic Bitter Rice (1949) ("Bitter Rice"). The film propelled Vallone, pronounced a natural actor by De Santis, into international stardom and ended his journalism career.
Vallone became a major star in Italy in the 1950s and then a player in the global film industry, making movies in Italian, French and English. Vallone achieved popularity with American audiences in the 1960s, starting with his supporting roles in Two Women (1960) ("Two Women") and El Cid (1961), both co-starring Sophia Loren. Other major actresses he co-starred with on film and stage included Gina Lollobrigida, Anna Magnani, Melina Mercouri, Simone Signoret, and Elena Varzi, to whom he was married for 52 years, until his death in 2002.
Vallone's first "American" role was as the incest-minded Italian-American longshoreman Eddie Carbone in Sidney Lumet's film of Arthur Miller's A View from the Bridge (1962) ("A View from the Bridge"). Other prominent roles in American films included Otto Preminger's The Cardinal (1963), Roger Corman's The Secret Invasion (1964), Harlow (1965) starring Carroll Baker, and Henry Hathaway's Nevada Smith (1966).
Vallone played many priests during his long career, culminating with the cardinal-confessor of mobster Michael Corleone, a priest who becomes pope and is murdered in Francis Ford Coppola's The Godfather Part III (1990). Appearing for the other side, Vallone was memorable as the Mafia boss Altabani in the original The Italian Job (1969). - Actor
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Max von Sydow was born Carl Adolf von Sydow on April 10, 1929 in Lund, Skåne, Sweden, to a middle-class family. He was the son of Baroness Maria Margareta (Rappe), a teacher, and Carl Wilhelm von Sydow, an ethnologist and folklore professor. His surname traces back to his partial German ancestry.
When he was in high school, he and a few fellow students, including Yvonne Lombard, started a theatre club which encouraged his interest in acting. After conscription, he began to study at the Royal Dramatic Theatre's acting school (1948-1951), together with Lars Ekborg, Margaretha Krook and Ingrid Thulin. His first role was as Nils the crofter in Alf Sjöberg's Only a Mother (1949). After graduation, he worked at the city theatres in Norrköping and Malmö.
His work in the movies by Ingmar Bergman (especially The Seventh Seal (1957), including the iconic scenes in which he plays chess with Death) made him well-known internationally, and he started to get offers from abroad. His career abroad began with him playing Jesus in The Greatest Story Ever Told (1965); Hawaii (1966) and The Quiller Memorandum (1966). Since then, his career includes very different kind of characters, like Karl Oskar Nilsson in The Emigrants (1971); Father Lankester Merrin in The Exorcist (1973); Joubert the assassin in Three Days of the Condor (1975), Emperor Ming in Flash Gordon (1980); the villain Ernst Stavro Blofeld in the Never Say Never Again (1983); Liet-Kynes in Dune (1984) the artist Frederick in Hannah and Her Sisters (1986); Lassefar in Pelle the Conqueror (1987), for which he received his first Academy Award nomination; Dr. Peter Ingham in Awakenings (1990); Lamar Burgess in Minority Report (2002) and The Renter in Extremely Loud & Incredibly Close (2011), which earned him his second Academy Award nomination.
He became one of Sweden's most admired and professional actors, and is the only male Swedish actor to receive an Oscar nomination. He was nominated twice: for Pelle the Conqueror (1987) in 1988 and for Extremely Loud & Incredibly Close (2011) in 2012. He received the Guldbagge Award for Best Director in his directing debut, the drama film Ved vejen (1988). In 2016, he joined the sixth season of the HBO series Game of Thrones (2011) as the Three-eyed Raven, which earned him his Primetime Emmy Award nomination.
Max von Sydow died on March 8, 2020, in Provence, France, and was survived by his wife Catherine Brelet and four children. He was 90.- Actor
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His father, Richard Head Welles, was a well-to-do inventor, his mother, Beatrice (Ives) Welles, a beautiful concert pianist; Orson Welles was gifted in many arts (magic, piano, painting) as a child. When his mother died in 1924 (when he was nine) he traveled the world with his father. He was orphaned at 15 after his father's death in 1930 and became the ward of Dr. Maurice Bernstein of Chicago. In 1931, he graduated from the Todd School in Woodstock, Illinois. He turned down college offers for a sketching tour of Ireland. He tried unsuccessfully to enter the London and Broadway stages, traveling some more in Morocco and Spain, where he fought in the bullring.
Recommendations by Thornton Wilder and Alexander Woollcott got him into Katharine Cornell's road company, with which he made his New York debut as Tybalt in 1934. The same year, he married, directed his first short, and appeared on radio for the first time. He began working with John Houseman and formed the Mercury Theatre with him in 1937. In 1938, they produced "The Mercury Theatre on the Air", famous for its broadcast version of "The War of the Worlds" (intended as a Halloween prank). His first film to be seen by the public was Citizen Kane (1941), a commercial failure losing RKO $150,000, but regarded by many as the best film ever made. Many of his subsequent films were commercial failures and he exiled himself to Europe in 1948.
In 1956, he directed Touch of Evil (1958); it failed in the United States but won a prize at the 1958 Brussels World's Fair. In 1975, in spite of all his box-office failures, he received the American Film Institute's Lifetime Achievement Award, and in 1984, the Directors Guild of America awarded him its highest honor, the D.W. Griffith Award. His reputation as a filmmaker steadily climbed thereafter.- Actor
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Assi Dayan was born on 23 November 1945 in Moshav Nahalal, British Mandate of Palestine [now Israel]. He was an actor and writer, known for Life According to Agfa (1992), Mr. Baum (1997) and Electric Blanket (1994). He was married to Aarona Malkind, Vered Tandler-Dayan, Caroline Langford and Smadar Kilchinsky. He died on 1 May 2014 in Tel Aviv, Israel.- Actor
- Soundtrack
One of stage, screen and TV's finest transatlantic talents, slight, gravel-voiced, pasty-looking John Vincent Hurt was born on January 22, 1940, in Shirebrook, a coal mining village, in Derbyshire, England. The youngest child of Phyllis (Massey), an engineer and one-time actress, and Reverend Arnould Herbert Hurt, an Anglican clergyman and mathematician, his quiet shyness betrayed an early passion for acting. First enrolled at the Grimsby Art School and St. Martin's School of Art, his focus invariably turned from painting to acting.
Accepted into the Royal Academy of Dramatic Art in 1960, John made his stage debut in "Infanticide in the House of Fred Ginger" followed by "The Dwarfs." Elsewhere, he continued to build upon his 60's theatrical career with theatre roles in "Chips with Everything" at the Vaudeville, the title role in "Hamp" at the Edinburgh Festival, "Inadmissible Evidence" at Wyndham's and "Little Malcolm and His Struggle Against the Eunuchs" at the Garrick. His movie debut occurred that same year with a supporting role in the "angry young man" British drama Young and Willing (1962), followed by small roles in Appuntamento in Riviera (1962), A Man for All Seasons (1966) and The Sailor from Gibraltar (1967).
A somber, freckled, ravaged-looking gent, Hurt found his more compelling early work in offbeat theatrical characterizations with notable roles such as Malcolm in "Macbeth" (1967), Octavius in "Man and Superman" (1969), Peter in "Ride a Cock Horse" (1972), Mike in '"The Caretaker" (1972) and Ben in "The Dumb Waiter" (1973). At the same time he gained more prominence in a spray of film and support roles such as a junior officer in Before Winter Comes (1968), the title highwayman in Sinful Davey (1969), a morose little brother in In Search of Gregory (1969), a dim, murderous truck driver in 10 Rillington Place (1971), a skirt-chasing, penguin-studying biologist in Cry of the Penguins (1971), the unappetizing son of a baron in The Pied Piper (1972) and a repeat of his title stage role as Little Malcolm and His Struggle Against the Eunuchs (1974).
Hurt shot to international stardom, however, on TV where he was allowed to display his true, fearless range. He reaped widespread acclaim for his embodiment of the tormented gay writer and raconteur Quentin Crisp in the landmark television play The Naked Civil Servant (1975), adapted from Crisp's autobiography. Hurt's bold, unabashed approach on the flamboyant and controversial gent who dared to be different was rewarded with the BAFTA (British TV Award). This triumph led to the equally fascinating success as the cruel and crazed Roman emperor Caligula in the epic television masterpiece I, Claudius (1976), followed by another compelling interpretation as murderous student Raskolnikov in Crime and Punishment (1979).
A resurgence occurred on film as a result. Among other unsurpassed portraits on his unique pallet, the chameleon in him displayed a polar side as the gentle, pathetically disfigured title role in The Elephant Man (1980), and as a tortured Turkish prison inmate who befriends Brad Davis in the intense drama Midnight Express (1978) earning Oscar nominations for both. Mainstream box-office films were offered as well as art films. He made the most of his role as a crew member whose body becomes host to an unearthly predator in Alien (1979). With this new rush of fame came a few misguided ventures as well that were generally unworthy of his talent. Such brilliant work as his steeple chase jockey in Champions (1984) or kidnapper in The Hit (1984) was occasionally offset by such drivel as the comedy misfire Partners (1982) with Ryan O'Neal in which Hurt looked enervated and embarrassed. For the most part, the craggy-faced actor continued to draw extraordinary notices. Tops on the list includes his prurient governmental gadfly who triggers the Christine Keeler political sex scandal in the aptly-titled Scandal (1989); the cultivated gay writer aroused and obsessed with struggling "pretty-boy" actor Jason Priestley in Love and Death on Long Island (1997); and the Catholic priest embroiled in the Rwanda atrocities in Shooting Dogs (2005).
Latter parts of memorable interpretations included Dr. Iannis in Captain Corelli's Mandolin (2001), the recurring role of the benign wand-maker Mr. Ollivander in Harry Potter and the Sorcerer's Stone (2001) and Harry Potter and the Deathly Hallows: Part 1 (2010), the tyrannical dictator Adam Sutler in V for Vendetta (2005) and the voice of The Dragon in Merlin (2008). Among Hurt's final film appearances were as a terminally ill screenwriter in That Good Night (2017) and a lesser role in the mystery thriller Damascus Cover (2017). Hurt's voice was also tapped into animated features and documentaries, often serving as narrator. He also returned to the theatre performing in such shows as "The Seagull", "A Month in the Country" (1994), "Afterplay" (2002) and "Krapp's Last Tape", the latter for which he received the Los Angeles Drama Critics Circle Award.
A recovered alcoholic who married four times, Hurt was appointed Commander of the Order of the British Empire (CBE) by the Queen in 2004, and Knight Bachelor of the Order of the British Empire in 2015. That same year (2015) he was diagnosed with pancreatic cancer. In July of 2016, he was forced to bow out of the father role of Billy Rice in a then-upcoming London stage production of "The Entertainer" opposite Kenneth Branagh due to ill health that he described as an "intestinal ailment". Hurt died several months later at his home in Cromer, Norfolk, England on January 15, 2017, three days after his 77th birthday.- Actor
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Nigel Davenport was born on 23 May 1928 in Shelford, Cambridge, Cambridgeshire, England, UK. He was an actor, known for A Man for All Seasons (1966), Chariots of Fire (1981) and The Island of Dr. Moreau (1977). He was married to Maria Aitken and Helena Margaret White. He died on 25 October 2013 in Gloucester, Gloucestershire, England, UK.- 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.- Actress
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Elizabeth Rosemond Taylor was considered one of the last, if not the last, major star to have come out of the old Hollywood studio system. She was known internationally for her beauty, especially for her violet eyes, with which she captured audiences early in her youth and kept the world hooked with ever after.
Taylor was born on February 27, 1932 in London, England. Although she was born an English subject, her parents, Sara Taylor (née Sara Viola Warmbrodt) and Francis Taylor, were Americans, art dealers from St. Louis, Missouri. Her father had moved to London to set up a gallery prior to Elizabeth's birth. Her mother had been an actress on the stage, but gave up that vocation when she married. Elizabeth lived in London until the age of seven, when the family left for the US when the clouds of war began brewing in Europe in 1939. They sailed without her father, who stayed behind to wrap up the loose ends of the art business.
The family relocated to Los Angeles, where Mrs. Taylor's own family had moved. Mr. Taylor followed not long afterward. A family friend noticed the strikingly beautiful little Elizabeth and suggested that she be taken for a screen test. Her test impressed executives at Universal Pictures enough to sign her to a contract. Her first foray onto the screen was in There's One Born Every Minute (1942), released when she was ten. Universal dropped her contract after that one film, but Elizabeth was soon picked up by MGM.
The first production she made with that studio was Lassie Come Home (1943), and on the strength of that one film, MGM signed her for a full year. She had minuscule parts in her next two films, The White Cliffs of Dover (1944) and Jane Eyre (1943) (the former made while she was on loan to 20th Century-Fox). Then came the picture that made Elizabeth a star: MGM's National Velvet (1944). She played Velvet Brown opposite Mickey Rooney. The film was a smash hit, grossing over $4 million. Elizabeth now had a long-term contract with MGM and was its top child star. She made no films in 1945, but returned in 1946 in Courage of Lassie (1946), another success. In 1947, when she was 15, she starred in Life with Father (1947) with such heavyweights as William Powell, Irene Dunne and Zasu Pitts, which was one of the biggest box office hits of the year. She also co-starred in the ensemble film Little Women (1949), which was also a box office huge success.
Throughout the 1950s, Elizabeth appeared in film after film with mostly good results, starting with her role in the George Stevens film A Place in the Sun (1951), co-starring her good friend Montgomery Clift. The following year, she co-starred in Ivanhoe (1952), one of the biggest box office hits of the year. Her busiest year was 1954. She had a supporting role in the box office flop Beau Brummell (1954), but later that year starred in the hits The Last Time I Saw Paris (1954) and Elephant Walk (1954). She was 22 now, and even at that young age was considered one of the world's great beauties. In 1955 she appeared in the hit Giant (1956) with James Dean.
Sadly, Dean never saw the release of the film, as he died in a car accident in 1955. The next year saw Elizabeth co-star with Montgomery Clift in Raintree County (1957), an overblown epic made, partially, in Kentucky. Critics called it dry as dust. In addition, Clift was seriously injured during the film, with Taylor helping save his life. Despite the film's shortcomings and off-camera tragedy, Elizabeth was nominated for an Academy Award for her portrayal of Southern belle Susanna Drake. However, on Oscar night the honor went to Joanne Woodward for The Three Faces of Eve (1957).
In 1958 Elizabeth starred as Maggie Pollitt in Cat on a Hot Tin Roof (1958). The film received rave reviews from the critics and Elizabeth was nominated again for an Academy Award for best actress, but this time she lost to Susan Hayward in I Want to Live! (1958). She was still a hot commodity in the film world, though. In 1959 she appeared in another mega-hit and received yet another Oscar nomination for Suddenly, Last Summer (1959). Once again, however, she lost out, this time to Simone Signoret for Room at the Top (1958). Her Oscar drought ended in 1960 when she brought home the coveted statue for her performance in BUtterfield 8 (1960) as Gloria Wandrous, a call girl who is involved with a married man. Some critics blasted the movie but they couldn't ignore her performance. There were no more films for Elizabeth for three years. She left MGM after her contract ran out, but would do projects for the studio later down the road. In 1963 she starred in Cleopatra (1963), which was one of the most expensive productions up to that time--as was her salary, a whopping $1,000,000. The film took years to complete, due in part to a serious illness during which she nearly died.
This was the film where she met her future and fifth husband, Richard Burton (the previous four were Conrad Hilton, Michael Wilding, Mike Todd--who died in a plane crash--and Eddie Fisher). Her next films, The V.I.P.s (1963) and The Sandpiper (1965), were lackluster at best. Elizabeth was to return to fine form, however, with the role of Martha in Who's Afraid of Virginia Woolf? (1966). Her performance as the loudmouthed, shrewish, unkempt, yet still alluring Martha was easily her finest to date. For this she would win her second Oscar and one that was more than well-deserved. The following year, she and Burton co-starred in The Taming of The Shrew (1967), again giving winning performances. However, her films afterward were box office failures, including Reflections in a Golden Eye (1967), The Comedians (1967), Boom! (1968) (again co-starring with Burton), Secret Ceremony (1968), The Only Game in Town (1970), X, Y & Zee (1972), Hammersmith Is Out (1972) (with Burton again), Ash Wednesday (1973), Night Watch (1973), The Driver's Seat (1974), The Blue Bird (1976) (considered by many to be her worst), A Little Night Music (1977), and Winter Kills (1979) (a controversial film which was never given a full release and in which she only had a small role). She later appeared in some movies, both theatrical and made-for-television, and a number of television programs. In February 1997, Elizabeth entered the hospital for the removal of a brain tumor. The operation was successful. As for her private life, she divorced Burton in 1974, only to remarry him in 1975 and divorce him, permanently, in 1976. She had two more husbands, U.S. Senator John Warner and construction worker Larry Fortensky, whom she met in rehab.
In 1959, Taylor converted to Judaism, and continued to identify herself as Jewish throughout her life, being active in Jewish causes. Upon the death of her friend, actor Rock Hudson, in 1985, she began her crusade on behalf of AIDS sufferers. In the 1990s, she also developed a successful series of scents. In her later years, her acting career was relegated to the occasional TV-movie or TV guest appearance.
Elizabeth Taylor died on March 23, 2011 in Los Angeles, from congestive heart failure. Her final resting place is Forest Lawn Memorial Park, in Glendale, California.- Actor
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Son of character actor Robert Keith and stage actress Helena Shipman. He grew up on the road with his parents while they toured in plays. First appeared at age 3 in film Pied Piper Malone (1924) with his father. Began acting in radio programs and on stage before World War II. Joined the Marines and served as a machine gunner. Returned to Broadway stage after the war and branched out into television and film. Worked as an extra in several films before achieving speaking roles and subsequent stardom.- Actor
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Richard St John Harris was born on October 1, 1930 in Limerick, Ireland, to a farming family, one of nine children born to Mildred (Harty) and Ivan Harris. He attended Crescent College, a Jesuit school, and was an excellent rugby player, with a strong passion for literature. Unfortunately, a bout of tuberculosis as a teenager ended his aspirations to a rugby career, but he became fascinated with the theater and skipped a local dance one night to attend a performance of "Henry IV". He was hooked and went on to learn his craft at the London Academy of Music and Dramatic Art (LAMDA), then spent several years in stage productions. He debuted on screen in Shake Hands with the Devil (1959) and quickly scored regular work in films, including The Wreck of the Mary Deare (1959), The Night Fighters (1960) and a good role as a frustrated Australian bomber pilot in The Guns of Navarone (1961).
However, his breakthrough performance was as the quintessential "angry young man" in the sensational drama This Sporting Life (1963), which scored him an Oscar nomination. He then appeared in the WW II commando tale The Heroes of Telemark (1965) and in the Sam Peckinpah-directed western Major Dundee (1965). He next showed up in Hawaii (1966) and played King Arthur in Camelot (1967), a lackluster adaptation of the famous Broadway play. Better performances followed, among them a role as a reluctant police informer in The Molly Maguires (1970) alongside Sir Sean Connery. Harris took the lead role in the violent western A Man Called Horse (1970), which became something of a cult film and spawned two sequels. As the 1970s progressed, Harris continued to appear regularly on screen; however, the quality of the scripts varied from above average to woeful.
His credits during this period included directing himself as an aging soccer player in The Hero (1970); the western The Deadly Trackers (1973); the big-budget "disaster" film Juggernaut (1974); the strangely-titled crime film 99 and 44/100% Dead! (1974); with Connery again in Robin and Marian (1976); Gulliver's Travels (1977); a part in the Jaws (1975); Orca (1977) and a nice turn as an ill-fated mercenary with Richard Burton and Roger Moore in the popular action film The Wild Geese (1978).
The 1980s kicked off with Harris appearing in the silly Bo Derek vanity production Tarzan the Ape Man (1981) and the remainder of the decade had him appearing in some very forgettable productions. However, the luck of the Irish was once again to shine on Harris's career and he scored rave reviews (and another Oscar nomination) for The Field (1990). He then locked horns with Harrison Ford as an IRA sympathizer in Patriot Games (1992) and got one of his best roles as gunfighter English Bob in the Clint Eastwood western Unforgiven (1992). Harris was firmly back in vogue and rewarded his fans with more wonderful performances in Wrestling Ernest Hemingway (1993); Cry, the Beloved Country (1995); The Great Kandinsky (1995) and This Is the Sea (1997). Further fortune came his way with a strong performance in the blockbuster Gladiator (2000) and he became known to an entirely new generation of film fans as Albus Dumbledore in the mega-successful Harry Potter and the Sorcerer's Stone (2001) and Harry Potter and the Chamber of Secrets (2002). His final screen role was as "Lucius Sulla" in Caesar (2002).
Harris died of Hodgkin's disease, also known as Hodgkin's lymphoma, in London on October 25, 2002, aged 72.- Actor
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Stephen Boyd was born William Millar on July 4, 1931, at Glengormley, Northern Ireland, one of nine children of Martha Boyd and Canadian truck driver James Alexander Millar, who worked for Fleming's on Tomb Street in Belfast. He attended Glengormley & Ballyrobert primary school and then moved on to Ballyclare High School and studied bookkeeping at Hughes Commercial Academy. In Ireland he worked in an insurance office and travel agency during the day and rehearsed with a semi-professional acting company at night during the week and weekends. He would eventually manage to be on the list for professional acting companies to call him when they had a role. He joined the Ulster Theatre Group and was a leading man with that company for three years, playing all kinds of roles. He did quite a bit of radio work in between as well, but then decided it was distracting him from acting and completely surrendered to his passion. Eventually he went to London as an understudy in an Irish play, "The Passing Day."
In England he became very ill and was in and out of work, supplementing his acting assignments with odd jobs such as waiting in a cafeteria, doorman at the Odeon Theatre and even busking on the streets of London. Even as things turned for the worst, he would always write back to his mother that all was well and things were moving along so as not to alarm her in any way or make her worry. Sir Michael Redgrave discovered him one night at the Odeon Theatre and arranged an introduction to the Windsor Repertory Company. The Arts Council of Great Britain was looking for leading man and part-time director for the only major repertory company that was left in England, The Arts Council Midland Theatre Company, and he got the job. During his stay in England he went into television with the BBC, and for 18 months he was in every big play on TV. One of the major roles in his early career was the one in the play "Barnett's Folly," which he himself ranked as one of his favorites.
In 1956 he signed a seven-year contract with 20th Century-Fox. This led to his first film role, as an IRA member spying for the Nazis The Man Who Never Was (1956), a job he was offered by legendary producer Alexander Korda. William Wyler was so struck by Boyd's performance in that film that he asked Fox to loan him Boyd, resulting in his being cast in what is probably his most famous role, that of Messala in the classic Ben-Hur (1959) opposite Charlton Heston. He received a Golden Globe award for his work on that film but was surprisingly bypassed on Oscar night. Still under contract with Fox, Boyd waited around to play the role of Marc Anthony in Cleopatra (1963) opposite Elizabeth Taylor. However, Taylor became so seriously ill that the production was delayed for months, which caused Boyd and other actors to withdraw from the film and move on to other projects.
Boyd made several films under contract before going independent. One of the highlights was Fantastic Voyage (1966), a science-fiction film about a crew of scientists miniaturized and injected into the human body as if in inner space. He also received a nomination for his role of Insp. Jongman in Lisa (1962) (aka "The Inspector") co-starring with Dolores Hart.
Boyd's Hollywood career began to fade by the late 1960s as he started to spend more time in Europe, where he seemed to find better roles more suited to his interests. When he went independent it was obvious that he took on roles that spoke to him rather than just taking on assignments for the money, and several of the projects he undertook were, at the time, quite controversial, such as Slaves (1969) and Carter's Army (1970). Boyd chose his roles based solely on character development and the value of the story that was told to the public, and never based on monetary compensation or peer pressure.
Although at the height of his career he was considered one of Hollywood's leading men, he never forgot where he came from, and always reminded everyone that he was, first and foremost, an Irishman. When the money started coming in, one of the first things he did was to ensure that his family was taken care of. He was particularly close to his mother Martha and his brother Alex.
Boyd was married twice, the first time in 1958 to Italian-born MCA executive Mariella di Sarzana, but that only lasted (officially) during the filming of "Ben Hur." His second marriage was to Elizabeth Mills, secretary at the British Arts Council and a friend since 1955. Liz Mills followed Boyd to the US in the late 1950s and was his personal assistant and secretary for years before they married, about ten months before his death. He died on June 2, 1977, in Northridge, California, from a massive heart attack while playing golf - one of his favorite pastimes - at the Porter Valley Country Club. He is buried at Oakwood Memorial Park in Chatsworth, California. It was a terrible loss, just as he seemed to be making a comeback with his recent roles in the series Hawaii Five-O (1968) and the English movie The Squeeze (1977).
It is a real tragedy to see that a man who was so passionate about his work, who wanted nothing but to tell a story with character, a man who was ahead of his time in many ways ended up being overlooked by many of his peers. One fact remains about Stephen Boyd, however--his fans are still passionate about his work to this day, almost 30 years after his death, and one has to wonder if he ever realized that perhaps in some way he achieved the goal he set out for himself: to entertain the public and draw attention to the true art of acting while maintaining glamour as he defined it by remaining himself a mystery.- Actor
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George C. Scott was an immensely talented actor, a star of the big screen, stage and television. He was born on October 18, 1927 in Wise, Virginia, to Helena Agnes (Slemp) and George Dewey Scott. At the age of eight, his mother died, and his father, an executive at Buick, raised him. In 1945, he joined the United States Marines and spent four years with them, no doubt an inspiration for portraying General George S. Patton years later. When Scott left the Marines, he enrolled in journalism classes at the University of Missouri, but it was while performing in a play there that the acting bug bit him. He has said it "clicked, just like tumblers in a safe."
It was in 1957 that he landed a role in "Richard III" in New York City. The play was a success and brought the young actor to the attention of critics. He soon began to get work on television, mostly in live broadcasts of plays, and he landed the role of the crafty prosecutor in Anatomy of a Murder (1959). It was this role that got him his first Oscar nomination, for Best Supporting Actor.
However, George and Oscar wouldn't actually become the best of friends. In fact, he felt the whole process forced actors to become stars and that the ceremony was little more than a "meat market." In 1962, he was nominated again for Best Supporting Actor, this time opposite Paul Newman in The Hustler (1961), but sent a message saying "No, thanks" and refused the nomination.
However, whether he was being temperamental or simply stubborn in his opinion of awards, it did not seem to stop him from being nominated in the future. "Anatomy" and "The Hustler" were followed by the clever mystery The List of Adrian Messenger (1963), in which he starred alongside Kirk Douglas, Robert Mitchum and cameos by major stars of the time, including Burt Lancaster and Frank Sinatra. It's a must-see, directed by John Huston with tongue deeply in cheek.
The following year, Scott starred as General "Buck" Turgidson in Stanley Kubrick's comical anti-war film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). This became one of his favorites and he often said that he felt guilty getting paid for it, as he had so much fun making it. Another comedy followed, The Flim-Flam Man (1967), with Scott playing a smooth-talking con artist who takes on an apprentice whom he soon discovers has too many morals.
Three years followed, with some smaller television movies, before he got the role for which he will always be identified: the aforementioned General Patton in Patton (1970). This was a war movie that came at the end of a decade where anti-war protests had rocked a nation and become a symbol of youth dissatisfied with what was expected of them. Still, the actor's portrayal of this aggressive military icon actually drew sympathy for the controversial hero. He won the Oscar this time, but stayed at home watching hockey instead.
A pair of films that he made in the early 1980s were outstanding. The first of these was The Changeling (1980), a film often packaged as a horror movie but one that's really more of a supernatural thriller. He plays John Russell, a composer and music professor who loses his wife and daughter in a tragic accident. Seeking solace, he moves into an archaic mansion that had been unoccupied for 12 years. However, a child-like presence seems to be sharing the house with him and trying to share its secrets with him. From learning of the house's past, he discovers its horrific secret of long ago, a secret that the presence will no longer allow to be kept.
Then he starred -- along with a young cast of then largely unknowns, including Timothy Hutton, Sean Penn and Tom Cruise -- in the intense drama Taps (1981). He played the head of a military academy that's suddenly slated for destruction when the property is sold to local developers who plan to build condos. The students take over the academy when they feel that the regular channels are closed to them.
Scott kept up in films, television and on stage in the later years of his life (Broadway dimmed its lights for one minute on the night of his death). Among his projects were playing Ebenezer Scrooge in a worthy television update of A Christmas Carol (1984), an acclaimed performance on Broadway of "Death of a Salesman", the voice of McLeach in Disney's The Rescuers Down Under (1990) and co-starring roles in television remakes of two classic films, 12 Angry Men (1997) and Inherit the Wind (1999), to name just a few. After his death the accolades poured in, with Jack Lemmon saying, "George was truly one of the greatest and most generous actors I have ever known," while Tony Randall called him "the greatest actor in American history".- Actress
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Ava Lavina Gardner was born on December 24, 1922 in Grabtown, North Carolina, to Mary Elizabeth (née Baker) and Jonas Bailey Gardner. Born on a tobacco farm, where she got her lifelong love of earthy language and going barefoot, Ava grew up in the rural South. At age 18, her picture in the window of her brother-in- law's New York photo studio brought her to the attention of MGM, leading quickly to Hollywood and a film contract based strictly on her beauty. With zero acting experience, her first 17 film roles, 1942-1945, were one-line bits or little better. After her first starring role in B-grade Whistle Stop (1946), MGM loaned her to Universal for her first outstanding film The Killers (1946). Few of her best films were made at MGM which, keeping her under contract for 17 years, used her popularity to sell many mediocre films. Perhaps as a result, she never believed in her own acting ability, but her latent talent shone brightly when brought out by a superior director, as with John Ford in Mogambo (1953) and George Cukor in Bhowani Junction (1956).
After three failed marriages, dissatisfaction with Hollywood life prompted Ava to move to Spain in 1955; most of her subsequent films were made abroad. By this time, stardom had made the country girl a cosmopolitan, but she never overcame a deep insecurity about acting and life in the spotlight. Her last quality starring film role was in The Night of the Iguana (1964), her later work being (as she said) strictly "for the loot". In 1968, tax trouble in Spain prompted a move to London, where she spent her last 22 years in reasonable comfort. Her film career did not bring her great fulfillment, but her looks may have made it inevitable; many fans still consider her the most beautiful actress in Hollywood history. Ava Gardner died at age 67 of bronchial pneumonia on January 25, 1990 in Westminister, London, England.- Actor
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A leading man of prodigious talents, Peter O'Toole was born and raised in Leeds, Yorkshire, England, the son of Constance Jane Eliot (Ferguson), a Scottish nurse, and Patrick Joseph O'Toole, an Irish metal plater, football player and racecourse bookmaker. Upon leaving school, he decided to become a journalist, beginning as a newspaper copy boy. Although he succeeded in becoming a reporter, he discovered the theater and made his stage debut at age 17. He served as a radioman in the Royal Navy for two years, then attended the Royal Academy of Dramatic Arts, where his classmates included Albert Finney, Alan Bates and Richard Harris.
O'Toole spent several years on-stage at the Bristol Old Vic, then made an inconspicuous film debut in the Disney classic Kidnapped (1960). In 1962, he was chosen by David Lean to play T.E. Lawrence in Lean's epic drama Lawrence of Arabia (1962). The role made O'Toole an international superstar and received him his first Academy Award nomination for Best Actor in a Leading Role. In 1963, he played Hamlet under Laurence Olivier's direction in the premiere production of the Royal National Theater. He continued successfully in artistically rich films as well as less artistic but commercially rewarding projects. He received Academy Award nominations (but no Oscar) for seven different films.
However, medical problems (originally thought to have been brought on by his drinking but which turned out to be stomach cancer) threatened to destroy his career and life in the 1970s. He survived by giving up alcohol and, after serious medical treatment, returned to films with triumphant performances in The Stunt Man (1980) and My Favorite Year (1982). His youthful beauty lost to time and drink, O'Toole has found meaningful roles increasingly difficult to come by, though he remained one of the greatest actors of his generation. He had two daughters, Pat and Kate O'Toole, from his marriage to actress Siân Phillips. He also had a son, Lorcan O'Toole, by model Karen Brown.
On December 14, 2013, Peter O'Toole died at age 81 in London, England.- Actor
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Blue-eyed and well-built Italian actor in international cinema, Franco Nero, was a painting photographer when he was discovered as an actor by director John Huston. He has since appeared in more than 200 movies around the world, working with Europe's top directors, such as Luis Buñuel, Rainer Werner Fassbinder, Claude Chabrol, Sergey Bondarchuk, Michael Cacoyannis, Elio Petri, Marco Bellocchio, Enzo G. Castellari, among many others.
Nero was born in Parma (Northern Italy), in the family of a strict police sergeant. His inclination for acting had already become obvious in his teenage years, when he began organizing and participating in student plays. After a short stint at a leading theater school, he moved to Rome, where he joined a small group of friends for the purpose of making documentaries. Still unsure of his ultimate vocation, he worked various jobs on the crew. He studied economics and trade in Milan University, and appeared in popular Italian photo-novels. This gave him a chance to gain a little role in Carlo Lizzani's La Celestina P... R... (1965).
A year later, the handsome face of Nero was noticed by Huston, who chose him for the role of "Abel" in The Bible in the Beginning... (1966) (aka La Bibbia). But success came after he got the role of the lonely gunfighter, dragging a coffin, in one of the best spaghetti-westerns; Sergio Corbucci's Django (1966). Nero then filmed a few other westerns of that style as Ferdinando Baldi's Texas, Adios (1966) and Lucio Fulci's Massacre Time (1966).
In 1967, Joshua Logan cast him in the film version of the musical Camelot (1967) (Warner Bros.), opposite Vanessa Redgrave, for which he was nominated for a Golden Globe award. During filming of Camelot, he met actress Vanessa Redgrave, who become his long-time partner (they married decades later). He played with Catherine Deneuve in Luis Buñuel's Tristana (1970) and was directed by Sergey Bondarchuk in the war drama The Battle of Neretva (1969). Later, director Bondarchuk cast Nero for the role of famous American reporter "John Reed" in two-part "Krasnye kolokola II" (1982). In the late 60s and during the 70s, Nero played many different roles, but most of them connected with political and criminal genre, which criticized the Italian justice system.
In the early 80s, Nero was chosen for the role of the white ninja, "Cole", in Enter the Ninja (1981) and in 1990 as terrorist "Gen. Esperanza", opposite Bruce Willis, in Renny Harlin's Die Hard 2 (1990). He has also payed the roles of leading national heroes, such as "Garibaldi" (Italy), "Arpad" (Hungary), and "Banovic Strahinja" (Yugoslavia). In the USA, he has been in successful mini-series, such as "The Pirate" (Warner Bros), "The Last Days of Pompeii" (CBS), "Young Catherine" (TNT), "Bella Mafia" (CBS), "The Painted Lady", "Saint Augustine", and movies such as "The Legend of Valentino", "21 Hours to Munich", "Force 10 from Navarone", "Enter the Ninja", "The Versace Murder", and Letters to Juliet (2010).
He worked with the top European directors from Carlo Lizzani, Damiano Damiani, Luigi Zampa, Luis Buñuel, Elio Petri, Michael Cacoyannis, Rainer Werner Fassbinder, Claude Chabrol, 'Vatroslav Mimica', Marco Bellocchio, etc. At the beginning of the 80s, he also began producing, writing and directing. Between films, he participates in various theatrical events.
Apart from his cinematographic work, Nero also works for charitable organizations. Over the last 45 years, he has been a benefactor of the Don Bosco orphanage in Tivoli. He has received many awards and, in 1992 for his artistic merits, a knighthood of the Italian Republic was bestowed on him by the President of Italy. In 2011, he was honored by Brunel University of London with the honorary degree of doctor of Letters honoris causa and, in Toronto, with a star on the Walk of Fame.- Actor
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Probably best-remembered for his turbulent personal life with Elizabeth Taylor (whom he married twice), Richard Burton was nonetheless also regarded as an often brilliant British actor of the post-WWII period.
Burton was born Richard Walter Jenkins in 1925 into a Welsh (Cymraeg)-speaking family in Pontrhydyfen to Edith Maude (Thomas) and Richard Walter Jenkins, a coal miner. The twelfth of thirteen children, his mother died while he was a toddler and his father later abandoned the family, leaving him to be raised by an elder sister, Cecilia. An avid fan of Shakespeare, poetry and reading, he once said "home is where the books are". He received a scholarship to Oxford University to study acting and made his first stage appearance in 1944.
His first film appearances were in routine British movies such as Woman of Dolwyn (1949), Waterfront Women (1950) and Green Grow the Rushes (1951). Then he started to appear in Hollywood movies such as My Cousin Rachel (1952), The Robe (1953) and Alexander the Great (1956), added to this he was also spending considerable time in stage productions, both in the UK and USA, often to splendid reviews. The late 1950s was an exciting and inventive time in UK cinema, often referred to as the "British New Wave", and Burton was right in the thick of things, and showcased a sensational performance in Look Back in Anger (1959). He also appeared with a cavalcade of international stars in the World War II magnum opus The Longest Day (1962), and then onto arguably his most "notorious" role as that of Marc Antony opposite Elizabeth Taylor in the hugely expensive Cleopatra (1963). This was, of course, the film that kick-started their fiery and passionate romance (plus two marriages), and the two of them appeared in several productions over the next few years including The V.I.P.s (1963), The Sandpiper (1965), the dynamic Who's Afraid of Virginia Woolf? (1966) and The Taming of The Shrew (1967), as well as box office flops like The Comedians (1967). Burton did better when he was off on his own giving higher caliber performances, such as those in Becket (1964), the film adaptation of the Tennessee Williams play The Night of the Iguana (1964), the brilliant espionage thriller The Spy Who Came in from the Cold (1965) and alongside Clint Eastwood in the World War II action adventure film Where Eagles Dare (1968).
His audience appeal began to decline somewhat by the end of the 1960s as fans turned to younger, more virile male stars, however Burton was superb in Anne of the Thousand Days (1969) as King Henry VIII, he put on a reasonable show in the boring Raid on Rommel (1971), was over the top in the awful Villain (1971), gave sleepwalking performances in Hammersmith Is Out (1972) and Bluebeard (1972), and was wildly miscast in the ludicrous The Assassination of Trotsky (1972).
By the early 1970s, quality male lead roles were definitely going to other stars, and Burton found himself appearing in some movies of dubious quality, just to pay the bills and support family, including Divorce His - Divorce Hers (1973) (his last on-screen appearance with Taylor), The Klansman (1974), Brief Encounter (1974), Jackpot (1974) (which was never completed) and Exorcist II: The Heretic (1977). However, he won another Oscar nomination for his excellent performance as a concerned psychiatrist in Equus (1977). He appeared with fellow acting icons Richard Harris and Roger Moore in The Wild Geese (1978) about mercenaries in South Africa. While the film had a modest initial run, over the past thirty-five years it has picked up quite a cult following. His final performances were as the wily inquisitor "O'Brien" in the most recent film version of George Orwell's dystopian 1984 (1984), in which he won good reviews, and in the TV mini series Ellis Island (1984). He passed away on August 5, 1984 in Celigny, Switzerland from a cerebral hemorrhage.- Actress
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Deborah Jane Trimmer was born on 30 September 1921 in Glasgow, Scotland, the daughter of Captain Arthur Kerr Trimmer. She was educated at Northumberland House, Clifton, Bristol. She first performed at the Open Air Theatre in Regent's Park, London. She subsequently performed with the Oxford Repertory Company 1939-40. Her first appearance on the West End stage was as Ellie Dunn in "Heartbreak House" at the Cambridge Theatre in 1943. She performed in France, Belgium and Holland with ENSA (Entertainments National Service Association, or Every Night Something Awful) - The British Army entertainment service. She has appeared in many films from her first appearance in Major Barbara (1941).- Actress
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Suellyn Lyon was born in Davenport, Iowa, the youngest of five siblings born to Sue Lyon (née Karr) and James Lyon. Sue Karr Lyon was 42 years old when she was widowed, when Suellyn was just 10 months old. Her mother worked in a hospital to provide for her children, and money was tight. The family then moved to Los Angeles in hopes that Suellyn could help out financially as a model.
She duly got jobs modeling for JC Penney, and doing a commercial, which featured her bleached blonde hair. She landed small parts on Dennis the Menace (1959) and The Loretta Young Show (1953). Director Stanley Kubrick saw Sue on the show and suggested to his partner that they should see her for the role of Lolita (1962). She was signed by the Glenn Shaw agency, and Pat Holmes, an agent, brought her down to Kubrick for audition, and won the part of Lolita.
In 1964, Sue married Hampton Fancher III but the marriage, like the four that would follow, would end in divorce. She was appearing at the time in such movies as 7 Women (1965), The Flim-Flam Man (1967) and Tony Rome (1967). Her second husband was Roland Harrison, an African-American photographer and football coach. The controversy over their marriage made them decide to move to Europe. She continued in movies like Evel Knievel (1971), Game of Murder (1973), and Murder in a Blue World (1973), but wound up divorcing Harrison, in part due to the fallout over the controversy and other problems.
Sue met Gary "Cotton" Adamson at the Colorado State Penitentiary, where he was serving time for murder and robbery. She worked as a cocktail waitress and lived in a hotel in Denver nearby. She married him in 1973 and began working for prison reform and conjugal rights. Unfortunately this was another short-lived marriage as she divorced him after he committed yet another robbery. More films followed including Smash-Up on Interstate 5 (1976), The Astral Factor (1978), Towing (1978), Crash! (1976), Don't Push, I'll Charge When I'm Ready (1971) and her final film, Alligator (1980).
Sue married Edward Weathers in 1983, but the marriage ended a year later. She married a radio engineer, Richard Rudman, but that marriage, like the four before it, ended in divorce.
Sue Lyon died in 2019, aged 73. She was survived by her only child, a daughter, Nona Harrison (from her marriage to Roland Harrison).- Actress
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The daughter of a noted surgeon, Dana Wynter was born Dagmar Winter in Berlin, Germany, and grew up in England. When she was 16 her father went to Morocco, reportedly to operate on a woman who wouldn't allow anyone else to attend her; he visited friends in Southern Rhodesia, fell in love with it and brought his daughter and her stepmother to live with him there. Wynter later enrolled as a pre-med student at Rhodes University (the only girl in a class of 150 boys) and also dabbled in theatrics, playing the blind girl in a school production of "Through a Glass Darkly", in which she says she was "terrible."
After a year-plus of studies, she returned to England and shifted gears, dropping her medical studies and turning to an acting career. She was appearing in a play in Hammersmith when an American agent told her he wanted to represent her. She left for New York on November 5, 1953, "Guy Fawkes Day," a holiday commemorating a 1605 attempt to blow up the Parliament building. "There were all sorts of fireworks going off," she later told an interviewer, "and I couldn't help thinking it was a fitting send-off for my departure to the New World."
Wynter had more success in New York than in London, acting on TV (Robert Montgomery Presents (1950), Suspense (1949), Studio One (1948), among others) and the stage before "going Hollywood" a short time later. The willowy, dark-eyed actress appeared in over a dozen films, worked in "Golden Age" television (such as Playhouse 90 (1956)) and even co-starred in her own short-lived TV series, the globe-trotting The Man Who Never Was (1966). Married and divorced from well-known Hollywood lawyer Greg Bautzer, Wynter, once called Hollywood's "oasis of elegance", divided her time between homes in California and County Wicklow, Ireland until her death.- Actor
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Born in London, England to Charlotte Mary (opera singer) and George Alfred Brook. He was educated privately. Stage experience included: "Oliver Twist", "Voysey Inheritence", "If I were King", "Importance of Being Ernest", Fair and Warmer", "Over Sunday", "Clothes and the WOman", and many others. Screen experience with Graham-Cutts Company in London. He appeared in "Woman to Woman", and others. In 1924 he came to America.- Actor
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Tony Curtis was born Bernard Schwartz, the eldest of three children of Helen (Klein) and Emanuel Schwartz, Jewish immigrants from Hungary. Curtis himself admits that while he had almost no formal education, he was a student of the "school of hard knocks" and learned from a young age that the only person who ever had his back was himself, so he learned how to take care of both himself and younger brother, Julius. Curtis grew up in poverty, as his father, Emanuel, who worked as a tailor, had the sole responsibility of providing for his entire family on his meager income. This led to constant bickering between Curtis's parents over money, and Curtis began to go to movies as a way of briefly escaping the constant worries of poverty and other family problems. The financial strain of raising two children on a meager income became so tough that in 1935, Curtis's parents decided that their children would have a better life under the care of the state and briefly had Tony and his brother admitted to an orphanage. During this lonely time, the only companion Curtis had was his brother, Julius, and the two became inseparable as they struggled to get used to this new way of life. Weeks later, Curtis's parents came back to reclaim custody of Tony and his brother, but by then Curtis had learned one of life's toughest lessons: the only person you can count on is yourself.
In 1938, shortly before Tony's Bar Mitzvah, tragedy struck when Tony lost the person most important to him when his brother, Julius, was hit by a truck and killed. After that tragedy, Curtis's parents became convinced that a formal education was the best way Tony could avoid the same never-knowing-where-your-next-meal-is-coming-from life that they had known. However, Tony rejected this because he felt that learning about literary classics and algebra wasn't going to advance him in life as much as some real hands-on life experience would. He was to find that real-life experience a few years later, when he enlisted in the navy in 1942. Tony spent over two years getting that life experience doing everything from working as a crewman on a submarine tender, the USS Proteus (AS-19), to honing his future craft as an actor performing as a sailor in a stage play at the Navy Signalman School in Illinois.
In 1945, Curtis was honorably discharged from the navy, and when he realized that the GI Bill would allow him to go to acting school without paying for it, he now saw that his lifelong pipe dream of being an actor might actually be achievable. Curtis auditioned for the New York Dramatic Workshop, and after being accepted on the strength of his audition piece (a scene from "Dr. Jekyll and Mr. Hyde" in pantomime), Curtis enrolled in early 1947. He then began to pay his dues by appearing in a slew of stage productions, including "Twelfth Night" and "Golden Boy". He then connected with a small theatrical agent named Joyce Selznick, who was the niece of film producer David O. Selznick. After seeing his potential, Selznick arranged an interview for Curtis to see David O. Selznick at Universal Studios, where Curtis was offered a seven-year contract. After changing his name to what he saw as an elegant, mysterious moniker--"Tony Curtis" (named after the novel Anthony Adverse (1936) by Hervey Allen and a cousin of his named Janush Kertiz)--Curtis began making a name for himself by appearing in small, offbeat roles in small-budget productions. His first notable performance was a two-minute role in Criss Cross (1949), with Burt Lancaster, in which he makes Lancaster jealous by dancing with Yvonne De Carlo. This offbeat role resulted in Curtis's being typecast as a heavy for the next few years, such as playing a gang member in City Across the River (1949).
Curtis continued to build up a show reel by accepting any paying job, acting in a number of bit-part roles for the next few years. It wasn't until late 1949 that he finally got the chance to demonstrate his acting flair, when he was cast in an important role in an action western, Sierra (1950). On the strength of his performance in that movie, Curtis was finally cast in a big-budget movie, Winchester '73 (1950). While he appears in that movie only very briefly, it was a chance for him to act alongside a Hollywood legend, James Stewart.
As his career developed, Curtis wanted to act in movies that had social relevance, ones that would challenge audiences, so he began to appear in such movies as Spartacus (1960) and The Defiant Ones (1958). He was advised against appearing as the subordinate sidekick in Spartacus (1960), playing second fiddle to the equally famous Kirk Douglas. However, Curtis saw no problem with this because the two had recently acted together in dual leading roles in The Vikings (1958).- Actor
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Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name of his best-selling 1988 autobiography) to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born on December 9, 1916 in Amsterdam, New York. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. Professional wrestling helped pay for his studies as did working on the side as a waiter and a bellboy. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He made his Broadway debut in "Spring Again" before his career was interrupted by World War II. He joining the United States Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall, movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1947), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now."
After appearing in "I Walk Alone," Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli. In 1955, Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence, Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.
Douglas remained busy throughout the 1960s, starring in many films. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally in 1963, he starred in an onstage production of Ken Kesey's "One Flew Over the Cuckoo's Nest," but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson. Into the 1970s, Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).
Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded with the Presidential Medal of Freedom (1981), and with the Jefferson Award (1983). Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remained active and continued to appear in front of the camera. Until his passing on February 5 2020 at the age of 103, he and Olivia de Havilland were the last surviving major stars from the Golden Years of Hollywood.- Actor
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Burt Lancaster, one of five children, was born in Manhattan, to Elizabeth (Roberts) and James Henry Lancaster, a postal worker. All his grandparents were immigrants from the north of Ireland. He was a tough street kid who took an early interest in gymnastics. He joined the circus as an acrobat and worked there until he was injured. In the Army during WWII he was introduced to the USO and to acting. His first film was The Killers (1946), and that made him a star. He was a self-taught actor who learned the business as he went along. He set up his own production company in 1948 with Harold Hecht and James Hill to direct his career. He played many different roles in pictures as varied as The Crimson Pirate (1952), From Here to Eternity (1953), Elmer Gantry (1960) and Atlantic City (1980).
His production company, Hecht-Hill-Lancaster, produced such films as Paddy Chayefsky's Marty (1955) (Oscar winner 1955) and The Catered Affair (1956). In the 1980s he appeared as a supporting player in a number of movies, such as Local Hero (1983) and Field of Dreams (1989). However, it will be the sound of his voice, the way that he laughed, and the larger-than-life characters he played that will always be remembered.- Music Artist
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Frank Sinatra was born in Hoboken, New Jersey, to Italian immigrants Natalina Della (Garaventa), from Northern Italy, and Saverio Antonino Martino Sinatra, a Sicilian boxer, fireman, and bar owner. Growing up on the gritty streets of Hoboken made Sinatra determined to work hard to get ahead. Starting out as a saloon singer in musty little dives (he carried his own P.A. system), he eventually got work as a band singer, first with The Hoboken Four, then with Harry James and then Tommy Dorsey. With the help of George Evans (Sinatra's genius press agent), his image was shaped into that of a street thug and punk who was saved by his first wife, Nancy Barbato Sinatra. In 1942 he started his solo career, instantly finding fame as the king of the bobbysoxers--the young women and girls who were his fans--and becoming the most popular singer of the era among teenage music fans. About that time his film career was also starting in earnest, and after appearances in a few small films, he struck box-office gold with a lead role in Anchors Aweigh (1945) with Gene Kelly, a Best Picture nominee at the 1946 Academy Awards. Sinatra was awarded a special Oscar for his part in a short film that spoke out against intolerance, The House I Live In (1945). His career on a high, Sinatra went from strength to strength on record, stage and screen, peaking in 1949, once again with Gene Kelly, in the MGM musical On the Town (1949) and Take Me Out to the Ball Game (1949). A controversial public affair with screen siren Ava Gardner broke up his marriage to Nancy Barbato Sinatra and did his career little good, and his record sales dwindled. He continued to act, although in lesser films such as Meet Danny Wilson (1952), and a vocal cord hemorrhage all but ended his career. He fought back, though, finally securing a role he desperately wanted--Maggio in From Here to Eternity (1953). He won an Oscar for best supporting actor and followed this with a scintillating performance as a cold-blooded assassin hired to kill the US President in Suddenly (1954). Arguably a career-best performance--garnering him an Academy Award nomination for Best Actor--was his role as a pathetic heroin addict in the powerful drama The Man with the Golden Arm (1955).
Known as "One-Take Charlie" for his approach to acting that strove for spontaneity and energy, rather than perfection, Sinatra was an instinctive actor who was best at playing parts that mirrored his own personality. He continued to give strong and memorable performances in such films as Guys and Dolls (1955), The Joker Is Wild (1957) and Some Came Running (1958). In the late 1950s and 1960s Sinatra became somewhat prolific as a producer, turning out such films as A Hole in the Head (1959), Sergeants 3 (1962) and the very successful Robin and the 7 Hoods (1964). Lighter roles alongside "Rat Pack" buddies Dean Martin and Sammy Davis Jr. were lucrative, especially the famed Ocean's Eleven (1960). On the other hand, he alternated such projects with much more serious offerings, such as The Manchurian Candidate (1962), regarded by many critics as Sinatra's finest picture. He made his directorial debut with the World War II picture None But the Brave (1965), which was the first Japanese/American co-production. That same year Von Ryan's Express (1965) was a box office sensation. In 1967 Sinatra returned to familiar territory in Sidney J. Furie's The Naked Runner (1967), once again playing as assassin in his only film to be shot in the U.K. and Germany. That same year he starred as a private investigator in Tony Rome (1967), a role he reprised in the sequel, Lady in Cement (1968). He also starred with Lee Remick in The Detective (1968), a film daring for its time with its theme of murders involving rich and powerful homosexual men, and it was a major box-office success.
After appearing in the poorly received comic western Dirty Dingus Magee (1970), Sinatra didn't act again for seven years, returning with a made-for-TV cops-and-mob-guys thriller Contract on Cherry Street (1977), which he also produced. Based on the novel by William Rosenberg, this fable of fed-up cops turning vigilante against the mob boasted a stellar cast and was a ratings success. Sinatra returned to the big screen in The First Deadly Sin (1980), once again playing a New York detective, in a moving and understated performance that was a fitting coda to his career as a leading man. He made one more appearance on the big screen with a cameo in Cannonball Run II (1984) and a final acting performance in Magnum, P.I. (1980), in 1987, as a retired police detective seeking vengeance on the killers of his granddaughter, in an episode entitled Laura (1987).- Actor
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Robert Mitchum was an underrated American leading man of enormous ability, who sublimated his talents beneath an air of disinterest. He was born in Bridgeport, Connecticut, to Ann Harriet (Gunderson), a Norwegian immigrant, and James Thomas Mitchum, a shipyard/railroad worker. His father died in a train accident when he was two, and Robert and his siblings (including brother John Mitchum, later also an actor) were raised by his mother and stepfather (a British army major) in Connecticut, New York, and Delaware. An early contempt for authority led to discipline problems, and Mitchum spent good portions of his teen years adventuring on the open road. He later claimed that on one of these trips, at the age of 14, he was charged with vagrancy and sentenced to a Georgia chain gang, from which he escaped. Working a wide variety of jobs (including ghostwriter for astrologist Carroll Righter), Mitchum discovered acting in a Long Beach, California, amateur theater company. He worked at Lockheed Aircraft, where job stress caused him to suffer temporary blindness. About this time he began to obtain small roles in films, appearing in dozens within a very brief time. In 1945, he was cast as Lt. Walker in Story of G.I. Joe (1945) and received an Oscar nomination as Best Supporting Actor. His star ascended rapidly, and he became an icon of 1940s film noir, though equally adept at westerns and romantic dramas. His apparently lazy style and seen-it-all demeanor proved highly attractive to men and women, and by the 1950s, he was a true superstar despite a brief prison term for marijuana usage in 1949, which seemed to enhance rather than diminish his "bad boy" appeal. Though seemingly dismissive of "art," he worked in tremendously artistically thoughtful projects such as Charles Laughton's The Night of the Hunter (1955) and even co-wrote and composed an oratorio produced at the Hollywood Bowl by Orson Welles. A master of accents and seemingly unconcerned about his star image, he played in both forgettable and unforgettable films with unswerving nonchalance, leading many to overlook the prodigious talent he can bring to a project that he finds compelling. He moved into television in the 1980s as his film opportunities diminished, winning new fans with The Winds of War (1983) and War and Remembrance (1988). His sons James Mitchum and Christopher Mitchum are actors, as is his grandson Bentley Mitchum. His last film was James Dean: Race with Destiny (1997) with Casper Van Dien as James Dean.- Actor
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Edward Montgomery Clift (nicknamed 'Monty' his entire life) was born on October 17, 1920 in Omaha, Nebraska, just after his twin sister Roberta (1920-2014) and eighteen months after his brother Brooks Clift. He was the son of Ethel "Sunny" Anderson (Fogg; 1888-1988) and William Brooks Clift (1886-1964). His father made a lot of money in banking but was quite poor during the depression. His mother was born out of wedlock and spent much of her life and the family fortune finding her illustrious southern lineage and raising her children as aristocrats.
At age 13, Monty appeared on Broadway ("Fly Away Home"), and chose to remain in the New York theater for over ten years before finally succumbing to Hollywood. He gained excellent theatrical notices and soon piqued the interests of numerous lovelorn actresses; their advances met with awkward conflict. While working in New York in the early 1940s, he met wealthy former Broadway star Libby Holman. She developed an intense decade-plus obsession over the young actor, even financing an experimental play, "Mexican Mural" for him. It was ironic his relationship with the bisexual middle-aged Holman would be the principal (and likely the last) heterosexual relationship of his life and only cause him further anguish over his sexuality. She would wield considerable influence over the early part of his film career, advising him in decisions to decline lead roles in Sunset Boulevard (1950), (originally written specifically for him; the story perhaps hitting a little too close to home) and High Noon (1952).
His long apprenticeship on stage made him a thoroughly accomplished actor, notable for the intensity with which he researched and approached his roles. By the early 1950s he was exclusively homosexual, though he continued to hide his homosexuality and maintained a number of close friendships with theater women (heavily promoted by studio publicists).
His film debut was Red River (1948) with John Wayne quickly followed by his early personal success The Search (1948) (Oscar nominations for this, A Place in the Sun (1951), From Here to Eternity (1953) and Judgment at Nuremberg (1961)). By 1950, he was troubled with allergies and colitis (the U.S. Army had rejected him for military service in World War II for chronic diarrhea) and, along with pill problems, he was alcoholic. He spent a great deal of time and money on psychiatry.
In 1956, during filming of Raintree County (1957), he ran his Chevrolet into a tree after leaving a party at Elizabeth Taylor's; it was she who saved him from choking by pulling out two teeth lodged in his throat. His smashed face was rebuilt, he reconciled with his estranged father, but he continued bedeviled by dependency on drugs and his unrelenting guilt over his homosexuality.
With his Hollywood career in an irreversible slide despite giving an occasional riveting performance, such as in Stanley Kramer's Judgment at Nuremberg (1961), Monty returned to New York and tried to slowly develop a somewhat more sensible lifestyle in his brownstone row house on East 61st Street in Manhattan. He was set to play in Taylor's Reflections in a Golden Eye (1967), when he died in the early morning hours of July 23, 1966, at his home at age 45. His body was found by his live-in personal secretary/companion Lorenzo James, who found Clift lying nude on top of his bed, dead from what the autopsy called "occlusive coronary artery disease." Clift's last 10 years prior to his death from his 1956 car accident were called the "longest suicide in history" by famed acting teacher Robert Lewis.- Actress
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The lovely Susannah York, a gamine, blue-eyed, cropped-blonde British actress, displayed a certain crossover star quality when she dared upon the Hollywood scene in the early 1960s. A purposefully intriguing, enigmatic and noticeably uninhibited talent, she was born Susannah Yolande Fletcher on January 9, 1939 in Chelsea, London, but raised in a remote village in Scotland. Her parents divorced when she was around 6. Attending Marr College, she trained for acting at London's Royal Academy of Dramatic Art, winning the Ronson Award for most promising student. She then performed classical repertory and pantomime in her early professional career.
Making an impression on television in 1959 opposite Sean Connery in a production of "The Crucible" as Abigail Williams to his John Proctor, the moon-faced beauty progressed immediately to ingénue film roles, making her debut as the daughter of Alec Guinness in the classic war drama Tunes of Glory (1960). She emerged quickly as a worthy co-star with the sensitively handled coming-of age drama Loss of Innocence (1961), the more complex psychodrama Freud (1962), as a patient to Montgomery Clift's famed psychoanalyst, and the bawdy and robust 18th century tale Tom Jones (1963), with Susannah portraying the brazenly seductive Sophie, one of many damsels lusting after the bed-hopping title rogue Albert Finney.
Susannah continued famously both here and in England in both contemporary and period drama opposite the likes of Warren Beatty, William Holden, Paul Scofield and Dirk Bogarde. Susannah was a new breed. Free-spirited and unreserved, she had no trouble at all courting controversy in some of the film roles she went on to play. She gained special notoriety as the child-like Alice in her stark, nude clinches with severe-looking executive Coral Browne in the lesbian drama The Killing of Sister George (1968). A few years later, she and Elizabeth Taylor traveled similar territory with X, Y & Zee (1972).
Award committees also began favoring her; she won the BAFTA film award as well as Oscar and Golden Globe nominations for her delusional Jean Harlow-like dance marathon participant in the grueling Depression-era film They Shoot Horses, Don't They? (1969). Her crazy scene in the shower with Oscar-winner Gig Young was particularly gripping and just one of many highlights in the acclaimed film. She also copped a Cannes Film Festival award for her performance in Images (1972) playing another troubled character barely coping with reality. On television, she was Emmy-nominated for her beautifully nuanced Jane Eyre (1970) opposite George C. Scott's Rochester.
Susannah's film career started to lose ground into the 1970s as she continued her pursuit of challengingly offbeat roles as opposed to popular mainstream work. The film adaptations of Kurt Vonnegut Jr.'s Happy Birthday, Wanda June (1971) opposite Rod Steiger and Jean Genet's The Maids (1975) with Glenda Jackson were not well-received. Her performances in such films as Gold (1974), Conduct Unbecoming (1975) which starred another famous York (Michael York), That Lucky Touch (1975), Sky Riders (1976) and The Shout (1978) were overlooked, as were the films themselves. In the one highly popular movie series she appeared in, the box-office smashes Superman (1978) and its sequel Superman II (1980), she had literally nothing to do as Lara, the wife of Marlon Brando's Jor-El and birth mother of the superhero. While the actress continued to pour out a number of quality work assignments in films and television, she failed to recapture her earlier star glow.
Wisely, Susannah began extending her talents outside the realm of film acting. Marrying writer Michael Wells in 1960, she focused on her personal life, raising their two children for a time. The couple divorced in 1980. In the 1970s, she wrote the children's books "In Search of Unicorns" and "Lark's Castle". She also found time to direct on stage and wrote the screenplay to one of her film vehicles Falling in Love Again (1980). On stage Susannah performed in such one-woman shows as "Independent State", 'Picasso's Women", "The Human Voice" and "The Loves of Shakespeare's Women", while entertaining such wide and varied theatre challenges as "Peter Pan" (title role), "Hamlet" (as Gertrude), "Camino Real", "The Merry Wives of Windsor", "A Streetcar Named Desire", "Private Lives", "Agnes of God" and the title role in "Amy's View".
At the age of 67, Susannah showed up once again on film with a delightful cameo role in The Gigolos (2006), and seemed ripe for a major comeback, perhaps in a similar vein to the legendary Judi Dench, Maggie Smith and Helen Mirren. Sadly, it was not to be. Diagnosed with bone marrow cancer, the actress died on January 15, 2011, six days after her 72nd birthday. Her final films, Franklyn (2008) and The Calling (2009), proved that she still possessed the magnetism of her earlier years.- Actress
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Audrey Hepburn was born as Audrey Kathleen Ruston on May 4, 1929 in Ixelles, Brussels, Belgium. Her mother, Baroness Ella Van Heemstra, was a Dutch noblewoman, while her father, Joseph Victor Anthony Ruston, was born in Úzice, Bohemia, to English and Austrian parents.
After her parents' divorce, Audrey went to London with her mother where she went to a private girls school. Later, when her mother moved back to the Netherlands, she attended private schools as well. While she vacationed with her mother in Arnhem, Netherlands, Hitler's army took over the town. It was here that she fell on hard times during the Nazi occupation. Audrey suffered from depression and malnutrition.
After the liberation, she went to a ballet school in London on a scholarship and later began a modeling career. As a model, she was graceful and, it seemed, she had found her niche in life--until the film producers came calling. In 1948, after being spotted modeling by a producer, she was signed to a bit part in the European film Nederlands in zeven lessen (1948). Later, she had a speaking role in the 1951 film, Young Wives' Tale (1951) as Eve Lester. The part still wasn't much, so she headed to America to try her luck there. Audrey gained immediate prominence in the US with her role in Roman Holiday (1953). This film turned out to be a smashing success, and she won an Oscar as Best Actress.
On September 25, 1954, she married actor Mel Ferrer. She also starred in Sabrina (1954), for which she received another Academy Award nomination. She starred in the films Funny Face (1957) and Love in the Afternoon (1957). She received yet another Academy Award nomination for her role in The Nun's Story (1959). On July 17, 1960, she gave birth to her first son, Sean Hepburn Ferrer.
Audrey reached the pinnacle of her career when she played Holly Golightly in Breakfast at Tiffany's (1961), for which she received another Oscar nomination. She scored commercial success again playing Regina Lampert in the espionage caper Charade (1963). One of Audrey's most radiant roles was in the fine production of My Fair Lady (1964). After a couple of other movies, most notably Two for the Road (1967), she hit pay dirt and another nomination in Wait Until Dark (1967).
In 1967, Audrey decided to retire from acting while she was on top. She divorced from Mel Ferrer in 1968. On January 19, 1969, she married Dr. Andrea Dotti. On February 8, 1970, she gave birth to her second son, Luca Dotti in Lausanne, Vaud, Switzerland. From time to time, she would appear on the silver screen.
In 1988, she became a special ambassador to the United Nations UNICEF fund helping children in Latin America and Africa, a position she retained until 1993. She was named to People's magazine as one of the 50 most beautiful people in the world. Her last film was Always (1989).
Audrey Hepburn died, aged 63, on January 20, 1993 in Tolochnaz, Vaud, Switzerland, from appendicular cancer. She had made a total of 31 high quality movies. Her elegance and style will always be remembered in film history as evidenced by her being named in Empire magazine's "The Top 100 Movie Stars of All Time".- Actress
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Lillian Diana Gish was born on October 14, 1893, in Springfield, Ohio. Her father, James Lee Gish, was an alcoholic who caroused, was rarely at home, and left the family to, more or less, fend for themselves. To help make ends meet, Lillian, her sister Dorothy Gish, and their mother, Mary Gish, a.k.a. Mary Robinson McConnell, tried their hand at acting in local productions. Lillian was six years old when she first appeared in front of an audience. For the next 13 years, she and Dorothy appeared before stage audiences with great success. Had she not made her way into films, Lillian quite possibly could have been one of the great stage actresses of all time; however, she found her way onto the big screen when, in 1912, she met famed director D.W. Griffith. Impressed with what he saw, he immediately cast her in her first film, An Unseen Enemy (1912), followed by The One She Loved (1912) and My Baby (1912). She would make 12 films for Griffith in 1912. With 25 films in the next two years, Lillian's exposure to the public was so great that she fast became one of the top stars in the industry, right alongside Mary Pickford, "America's Sweetheart".
In 1915, Lillian starred as Elsie Stoneman in Griffith's most ambitious project to date, The Birth of a Nation (1915). She was not making the large number of films that she had been in the beginning because she was successful and popular enough to be able to pick and choose the right films to appear in. The following year, she appeared in another Griffith classic, Intolerance (1916). By the early 1920s, her career was on its way down. As with anything else, be it sports or politics, new faces appeared on the scene to replace the "old", and Lillian was no different. In fact, she did not appear at all on the screen in 1922, 1925 or 1929. However, 1926 was her busiest year of the decade with roles in La Bohème (1926) and The Scarlet Letter (1926). As the decade wound to a close, "talkies" were replacing silent films. However, Lillian was not idle during her time away from the screen. She appeared in stage productions, to the acclaim of the public and critics alike. In 1933, she filmed His Double Life (1933), but did not make another film for nine years.
When she returned in 1943, she appeared in two big-budget pictures, Commandos Strike at Dawn (1942) and Top Man (1943). Although these roles did not bring her the attention she had had in her early career, Lillian still proved she could hold her own with the best of them. She earned an Oscar nomination as Best Supporting Actress for her role of Laura Belle McCanles in Duel in the Sun (1946), but lost to Anne Baxter in The Razor's Edge (1946).
One of the most critically acclaimed roles of her career came in the thriller The Night of the Hunter (1955), also notable as the only film directed by actor Charles Laughton. In 1969, she published her autobiography, "The Movies, Mr. Griffith, and Me". In 1987, she made what was to be her last motion picture, The Whales of August (1987), a box-office success that exposed her to a new generation of fans. Her 75-year career is almost unbeatable in any field, let alone the film industry. On February 27, 1993, at age 99, Lillian Gish died peacefully in her sleep at her Manhattan apartment in New York City. She never married.- Actor
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Joseph Wiseman was born on May 15, 1918 in Montreal, Quebec, Canada. He came to Broadway in the 1930s, where he was critically hailed for performances in Shakespeare's "King Lear", Clifford Odets' "Golden Boy" and Anton Chekhov's "Uncle Vanya". Motion pictures in which Wiseman has been seen include Detective Story (1951), starring Kirk Douglas, Viva Zapata! (1952) with Marlon Brando, The Garment Jungle (1957), The Night They Raided Minsky's (1968), The Valachi Papers (1972) and The Apprenticeship of Duddy Kravitz (1974) which brought him back to his native Canada for a co-starring role with Richard Dreyfuss.- Actor
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Errol Flynn was born to parents Theodore Flynn, a respected biologist, and Marrelle Young, an adventurous young woman. Young Flynn was a rambunctious child who could be counted on to find trouble. Errol managed to have himself thrown out of every school in which he was enrolled. In his late teens he set out to find gold, but instead found a series of short lived odd jobs. Information is sketchy, however the positions of police constable, sanitation engineer, treasure hunter, sheep castrator, ship-master for hire, fisherman, and soldier seem to be among his more reputable career choices. Staying one jump ahead of the law and jealous husbands forced Flynn to England. He took up acting, a pastime he had previously stumbled into when asked to play (ironically) Fletcher Christian in a film called In the Wake of the Bounty (1933). Flynn's natural athletic talent and good looks attracted the attention of Warner Brothers and soon he was off to America. His luck held when he replaced Robert Donat in the title role of Captain Blood (1935). He quickly rocketed to stardom as the undisputed king of adventure films, a title inherited from Douglas Fairbanks, though which remains his to this day. Onscreen, he was the freedom loving rebel, a man of action who fought against injustice and won the hearts of damsels in the process. His off-screen passions; drinking, fighting, boating and sex, made his film escapades seem pale. His love life brought him considerable fame, three statutory rape trials, and a lasting memorial in the expression "In like Flynn". Serious roles eluded him, and as his lifestyle eroded his youthful good looks, his career declined. Troubles with lawsuits and the IRS plagued him at this time, eroding what little money he had saved. A few good roles did come his way late in life, however, these were usually that of aging alcoholic, almost mirror images of Flynn. Regardless of any perceived similarity; he was making a name as a serious actor before his death.- The son of an insurance underwriter who represented Lloyd's of London in Ceylon, Trevor Wallace Howard-Smith was born in Margate, Kent. He spent his early childhood globetrotting with his mother, frequently left in the care of strangers. After attending private school he went on to study drama at RADA (due to his mother's insistence) and was voted best in his class following a performance in "Much Ado About Nothing". Spurning a Hollywood contract with Paramount he acted on the West End stage and with the Shakespeare Memorial Theatre in Stratford-upon-Avon from the mid-1930s, specialising in classical plays ranging from "Hamlet" and "Coriolanus" to "French without Tears", by Terence Rattigan. Howard was initially turned down for military service by both the RAF and the British Army but shortage of manpower led to his being called up in 1940 to serve as a second lieutenant with the Army Signal Corps. However, he neither saw action nor accumulated the illustrious wartime record (including winning the Military Cross) invented for him by his publicists. A 2001 biography by Terence Pettigrew claimed to have unearthed files from his war record which alleged that he was dismissed from service in 1943 due to 'mental instability'. Ironically, on screen, the actor was often cast as solid, unflappable British officers, perhaps reflecting his own personal credo of always feeling best when impersonating someone else.
Howard's career in films began quietly with small roles in The Way Ahead (1944) and Johnny in the Clouds (1945). He unexpectedly leapt to stardom in just his third outing as the stoic, decent Dr. Alec Harvey in David Lean's melancholic story of middle-class wartime romance, Brief Encounter (1945). Howard's mannered performance perfectly suited the required stiff-upper-lip mood of the film, his intensity and projected integrity more than compensating for his average looks. That 'jolly decent chap' persona continued on in another 'woman's picture', The Passionate Friends (1949), but Howard soon found his niche in more determined, worldly roles. He later admitted that "for years I was practically hounded by my first part in Brief Encounter. I loved the film, mind you, but the role wasn't me, at all" (Ottawa Citizen, February 17 1961). As a screen actor, Howard came of age in crime thrillers and war films, delivering his first genuine tour de force performance as a battle-hardened, cynical ex-pilot caught up in the world of post-war black market racketeering in I Became a Criminal (1947). His efficient, by-the-book intelligence officer, Major Calloway, in Carol Reed's The Third Man (1949) put him firmly on the map as a star character player.
Rasping-voiced and becoming increasingly craggy as the years went by, Howard contrasted archetypal authoritarians (seasoned army veteran Captain Thomson of The Cockleshell Heroes (1955), Captain William Bligh in the remake of Mutiny on the Bounty (1962), Lord Cardigan in The Charge of the Light Brigade (1968)) with weaklings (best exemplified by morally corrupt, degenerate expatriate trader Peter Willems in Outcast of the Islands (1951) -- arguably one of Howard's finest performances); sympathetic victims (colonial cop Scobie, tormented by religious guilt in The Heart of the Matter (1953)) and obsessive, driven eccentrics (crusading elephant preservationist Morel in The Roots of Heaven (1958), the alcoholic, haunted Sir Henry at Rawlinson End (1980), and the weird Russian recluse of Light Years Away (1981)). In the midst of angst-ridden heroes, drunken clerics and assorted historical characters, ranging from Napoleon Bonaparte to Sir Isaac Newton, Howard even essayed a Cheyenne warrior returning from the dead to defend his family in Windwalker (1980). Remarkably, though he took on a score of eminently forgettable projects, it is difficult to fault a single one of his performances. Throughout his entire career he was never out of favour with audiences and never out of work.
As becoming one of the most British of actors, Howard was an ardent cricket supporter, member of the prestigious Marylebone Cricket Club. He insisted on having a clause inserted in his contracts which allowed him leave from filming to attend test matches. A rather solitary man, he had few other hobbies (except, perhaps, a fondness for alcohol, which likely contributed to his death at the age of 74) and was reputedly modest about his accomplishments as an actor. He once declared "we don't have the Method School of acting in England. We simply read the script, let it seep in, then go put on whiskers - and do it" (New York Times, January 8 1988). - Actor
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A graduate of the University of Minnesota, Eddie Albert was a circus trapeze flier before becoming a stage and radio actor. He made his film debut in 1938 and has worked steadily since, often cast as the friendly, good-natured buddy of the hero but occasionally being cast as a villain; one of his most memorable roles was as the cowardly, glory-seeking army officer in Robert Aldrich's World War 2 film, Attack (1956).- Actor
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Oscar-winning actor Paul Lukas was born in Hungary and graduated from the School for Dramatic Arts. In 1916 he went to Kosice (Kassa) to be an actor; in 1918 he became an actor specializing in comedy. For ten years he was the most popular character player and romantic lead of the company. In 1918 he began making movies in Budapest and in the 1920s he began appearing in films in Austria as well. He journeyed to Hollywood in 1927, where he finally settled down. He wasn't untrue to the stage--he played Dr. Rank to Ruth Gordon's Nora in Henrik Ibsen's "A Doll's House" in the Morosco Theatre in New York in 1937--but concentrated on films until 1948. In the '50s he started appearing on stage more and more, and worked in films and on TV only sporadically.- Actor
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Herbert Lom was born on September 11, 1917 as Herbert Charles Angelo Kuchacevich ze Schluderpacheru into an aristocratic family living in genteel poverty. His incredibly long surnames led him to select the shortest surname he could find extant ("Lom") and adopt it as his own, professionally. He made his film debut in the Czech film Woman Below the Cross (1937) and played supporting and, occasionally, lead roles. His career picked up in the 1940s and he played, among other roles, Napoleon Bonaparte in The Young Mr. Pitt (1942) and in War and Peace (1956). In a rare starring role, Lom played twin trapeze artists in Dual Alibi (1947). He continued into the 1950s with roles opposite Alec Guinness and Peter Sellers in The Ladykillers (1955), and Robert Mitchum, Jack Lemmon and Rita Hayworth in Fire Down Below (1957). His career really took off in the 1960s and he got the title role in Hammer Films' production of The Phantom of the Opera (1962). He also played "Captain Nemo" in Mysterious Island (1961) and landed supporting parts in El Cid (1961) and an especially showy role in Spartacus (1960) as a pirate chieftain contracted to transport Spartacus' army away from Italy.
The 1960s was also the decade in which Lom secured the role for which he will always be remembered: Clouseau/Peter Sellers' long-suffering boss, Commissioner Charles Dreyfus, in the "Pink Panther" films, in which he pulled off the not-inconsiderable feat of stealing almost every scene he and Sellers were in--a real accomplishment, considering what a veteran scene-stealer Sellers was. However, Lom did not concentrate solely on feature films. He became a familiar face to British television viewers when he starred as Dr. Roger Corder in The Human Jungle (1963). He moved into horror films in the 1970s, with parts in Asylum (1972) and And Now the Screaming Starts! (1973). He played Prof. Abraham Van Helsing opposite Christopher Lee in Count Dracula (1970), matching wits against the sinister vampire himself.
Lom appeared as one of the victims in Ten Little Indians (1974), the drunken Dr. Edward Armstrong. His career continued into the 1980s, a standout role being that of Christopher Walken's sympathetic doctor in The Dead Zone (1983). He also played opposite Walter Matthau in Hopscotch (1980) and returned to the murder mystery Ten Little Indians (1989), this time playing The General. Lom has been taking it easy since then, though he returned to his familiar role of Dreyfus in Son of the Pink Panther (1993). He was always a reliable and eminently watchable actor, and unfortunately did not receive the stardom he should have.
Herbert Lom died in his sleep at age 95 on September 27, 2012, in London, England.- 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).- Originally named Shalom Jaffe, he became known to the world as Sam Jaffe. He was born in New York City, to Heida (Ada) and Barnett Jaffe, who were Russian Jewish immigrants. As a child, he appeared in Yiddish theatre productions with his mother, a prominent regional stage actress. He graduated from the City College of New York and then studied engineering at Columbia University graduate school. He began his career as a mathematics teacher in the Bronx. Around 1915 Jaffe joined the Washington Square Players. By 1918 he was no stranger to Broadway, having debuted in the original play Youth, and he appeared regularly through the 1920s, though less in the 1930s and only sporadically in the 1940s. He appeared in 21 plays on Broadway during his acting career, his final appearance in 1979.
Jaffe was a method actor before it was defined and early on sported his signature shock of curly hair that some people would later misinterpret as part of some Harpo Marx characterization. Jaffe was anything but. His acting talents were considerable, and Hollywood noticed him first for the unusual role of the mad Grand Duke Peter in Josef von Sternberg 's The Scarlet Empress (1934). Frightening in his rendition of Peter, he was dispatched by the always magnificent Marlene Dietrich.
Jaffe was no matinee idol but his homely features were made for unusual character roles. He did not disappoint in providing unforgettable performances. Frank Capra cast him as the mysterious High Lama in Lost Horizon (1937) (as last minute replacement; the actor originally cast had died). It would be another two years before Jaffe was once more called to Hollywood - he was back quite busy on Broadway. He appeared in George Stevens Gunga Din (1939) which sported big star names as well. Stevens gave Jaffe the lead, Gunga Din, native regimental bhisti (Hindi for water-carrier). It was probably Jaffe's most familiar film role. It was a standout part which Jaffe handled with great humanity, and the film was a huge hit.
Jaffe would not appear in another film for eight years. His second of two movies in 1947 was Elia Kazan 's powerful expose of anti-Semitism Gentleman's Agreement (1947) in which Jaffe played an Albert Einstein-like professor. Jaffe would play doctors of one sort or another in the handful of movies for the next few years. Then in 1950 he played a very different doctor - Doc Erwin Riedenschneider, criminal mastermind -- in John Huston's taut The Asphalt Jungle (1950). Jaffe would receive a nomination for a supporting actor Oscar for this effort. Of the three films he did in 1951, Jaffe also appeared in an another Einstein-like role in the Robert Wise sci-fi classic The Day the Earth Stood Still (1951).
Jaffe experienced the destructive anti-communist furor when his name was included on a listing of performers sympathetic to communism in the Red Channels pamphlet and like many, was blacklisted by the big Hollywood studios. He was considered essential by producer Julian Blaustein and Robert Wise to play Professor Jacob Barnhardt, and 20th Century Fox boss Darryl Zanuck (who had resisted much heat for Gentleman's Agreement (1947)) agreed. It was ironic that Einstein, veiled as the character Barnhardt, was a pacifist and being watched by the U.S. government at that time. There was some credence for rumors that Jaffe provided the calculus equations (mainly the gravitational force between bodies) on Barnhardt's blackboard - solved so easily by alien Michael Rennie.
Jaffe didn't appear on-screen for seven years due to the punitive effects of the blacklisting. In 1958, John Huston wanted him for his very original The Barbarian and the Geisha (1958) with John Wayne, and director William Wyler also came forward later to cast him as faithful servant Simonides in the blockbuster Ben-Hur (1959). From then on Jaffe was very busy, especially with episodic TV through the 1960s which included his own recurring role as Dr. Zorba in the very popular Ben Casey (1961) series. Jaffe also appeared with his lifelong best friend, screen icon Edward G. Robinson in the made-for-TV film The Old Man Who Cried Wolf (1970) . Jaffe remained active into the year of his passing, a thoroughly engaging and unique actor and human being who never pushed his views on anyone. - Actor
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Eldred Gregory Peck was born on April 5, 1916 in La Jolla, California, to Bernice Mae (Ayres) and Gregory Pearl Peck, a chemist and druggist in San Diego. He had Irish (from his paternal grandmother), English, and some German, ancestry. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the movies every week and of his dog, which followed him everywhere. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play "The Morning Star" (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (1944).
Stardom came with his next film, The Keys of the Kingdom (1944), for which he was nominated for an Academy Award. Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles. He appeared in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (1946), he was again nominated for an Academy Award and won the Golden Globe. He was especially effective in westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (1946), the somewhat better received Yellow Sky (1948) and the acclaimed The Gunfighter (1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (1947), which dealt with anti-Semitism, and Twelve O'Clock High (1949), a story of high-level stress in an Air Force bomber unit in World War II.
With a string of hits to his credit, Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (1951) and Moby Dick (1956). He worked with Audrey Hepburn in her debut film, Roman Holiday (1953). Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (1962). In the early 1960s, he appeared in two darker films than he usually made, Cape Fear (1962) and Captain Newman, M.D. (1963), which dealt with the way people live. He also gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (1961), one of the biggest box-office hits of that year.
In the early 1970s, he produced two films, The Trial of the Catonsville Nine (1972) and The Dove (1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Robert Thorn in the horror film The Omen (1976). After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (1977) and the monstrous Nazi Dr. Josef Mengele in the huge hit The Boys from Brazil (1978). In the 1980s, he moved into television with the miniseries The Blue and the Gray (1982) and The Scarlet and the Black (1983). In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (1991).
In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights and civil rights. In 2003, his Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute. Gregory Peck died at age 87 on June 12, 2003 in Los Angeles, California.- Actor
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British character actor Harry Andrews had the sort of massive granite face and square jaw that would stamp that career, but he set himself apart with brilliant stage and screen work. He had graduated from Wrekin College in Shropshire and then moved on to the stage, appearing with Liverpool Repertory in 1933 and focusing on Shakespearean roles. He was befriended by stage star John Gielgud who invited him to New York and Broadway as part of the cast of "Hamlet" in 1935. On the return to London, Andrews did a run of plays in the West End. Then Gielgud invited him into his own stage company. Soon after he was asked into the Old Vic Company by its director Laurence Olivier. His roles were becoming increasingly substantial, authoritative parts to match his sharp and forceful, through-the-teeth delivery of lines. Next he did not pass up the opportunity to join the Stratford Memorial Theatre in Stratford-upon-Avon, where he spent a decade honing himself into an established, fine, versatile actor, described by the controversial London theater critic Kenneth Tynan as "the backbone of British theater."
He came to the small screen before the large, having debuted in British experimental television in 1939, followed over a decade later with his debut on the ever expanding and fecund American playhouse TV in 1952. His big screen debut came the next year in a character part which would accent his career-from ancient to modern-the disciplined military man in Paratrooper (1953). From there the roles came his way - three or four per year - well into 1979, when TV took up most of his time. His movie making was spent either before American or British cameras. And the military roles were always masterly done, whether a roughed out sergeant or a more dignified officer. Though his most famous noncom may be Sergeant Major Tom Pugh alongside John Mills in J. Lee Thompson's classic adventure Ice Cold in Alex (1958), his achievement as Sergeant Major Bert Wilson, the near psychotic martinet, opposite Sean Connery and Ian Bannen, in The Hill (1965) was an over-the-top tour de force. That same year he was back in costume - having played many an ancient and medieval noble role through the 1950s - in something different - playing the great Renaissance architect Donato Bramante against Charlton Heston as rival Michelangelo in The Agony and the Ecstasy (1965). Not a big part, nevertheless Andrews gave the role a subdued and matter-of-fact strength that well fit the ambitious architect of the fiery Pope Julius II (played with great verve by Rex Harrison). While Andrews was also excellent with a tongue-in-cheek style for comedic roles, as in the send up, The Ruling Class (1972), he excelled against type as a flamboyant homosexual in the black comedy Entertaining Mr Sloane (1970). He had said something like: "I don't want to be a star -- I want to be a good actor in good parts" - but his presence always made him standout. It was ironic that he had difficulty in memorizing lines. Sometime later co-star Alan Bates thought him very courageous for his obvious triumph over this impediment. Bates further remarked that Andrews' great sense of humor and no-nonsense personable character made him a favorite with younger actors as a continuous well of encouragement and learning experiences. Though his parts were smaller as he grew older, he filled each of his roles, big or small - over 100 of them - with a giant's footsteps.- Actor
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Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.- Actress
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One of the world's most underrated Academy Award-winning actresses, Jennifer Jones was born Phylis Lee Isley on 2 March 1919 in Tulsa, Oklahoma, to Flora Mae (Suber) and Phillip Ross Isley, who ran a travelling stage show. As a young aspiring actress, she met and fell for young, handsome, aspiring actor Robert Walker. They soon married, and moved to Chicago in order to fulfill their dreams of becoming film stars. Though their plans (initially) fell through, Phyllis began working as a model; sporting mainly hats, gloves and jewelry, and also occasionally found some work on local radio stations, where she provided the voice for various characters in radio programmes, along with her husband.
In a last-ditch attempt to pursue her dream, Phyllis traveled to Selznick studios for a reading which would ultimately change her life. It was that day where she met David O. Selznick, and after that, her career began to take shape. Initially, Phyllis thought the audition went terribly and stormed out of the studios in tears, only to be chased by Selznick, who assured her she had been fine. Although she didn't get that particular part (which was for the iconic character, Scarlett O'Hara, which would ultimately go to Vivien Leigh, in one of the most famous castings in Hollywood's history), Phyllis was given a contract with Selznick studios. In short order, Phyllis was 'renamed' to the alliterative Jennifer Jones, and was cast over thousands of other hopefuls in the role of Bernadette Soubirous in The Song of Bernadette (1943).
For her moving portrayal of the sickly teenager who sees a vision of the Virgin Mary at Lourdes and devotes her life to her by becoming a nun, Jones won the Academy Award for best actress in a leading role on 2 March 1944 (coincidentally her 25th birthday) beating out stiff competition such as Ingrid Bergman (who later became a close friend of hers), Greer Garson, Joan Fontaine and Jean Arthur.
Now, considered a 'true' star, Jones' career was marked out and moulded for her by Selznick, who would become the love of her life. They began an affair and eventually she left her husband and two sons for the producer, which ultimately led Walker to an untimely death, attributed to alcohol and drug abuse instigated due to their separation. As for her career, Jones took on the supporting role of Jane Hilton, a headstrong teenage girl who grows up fast when her fiance is killed in action during WWII, in Since You Went Away (1944). For her performance Jones received a best supporting actress Oscar nomination, but lost out to Ethel Barrymore for None But the Lonely Heart (1944). Jennifer continued to deliver strong performances, receiving further best actress Oscar nominations for Love Letters (1945) (she lost to Joan Crawford for Mildred Pierce (1945)) and Duel in the Sun (1946), (she lost to Olivia de Havilland for To Each His Own (1946)) which saw her cast against type as the seductive biracial beauty Pearl Chavez.
Jones continued to produce memorable performances throughout the 1940s , including Portrait of Jennie (1948). In the 1950s she received her fifth and final Oscar nomination for Love Is a Many-Splendored Thing (1955), losing out to Anna Magnani for The Rose Tattoo (1955).
Despite her success within the film industry, Jones was a very private person and managed to stay out of the spotlight that dominated so many other performers' lives. But a lack of publicity led to a lack of roles, a trend that amplified when Selznick died in 1965. She appeared in fewer and fewer films, and after a moderately successful supporting performance in The Towering Inferno (1974) Jones decided to make that role her swan song, bowing out of the film industry. She did, however, try to revive her film career in later years by campaigning for the role of Aurora Greenway in Terms of Endearment (1983), but Shirley MacLaine was cast instead and as a result, won the Oscar for best actress.
Jennifer Jones died 17 December, 2009, in Malibu, California. In the 21st century, Jones may not be as well known as other actresses of her time such as Ingrid Bergman, Katharine Hepburn, Greer Garson, Bette Davis etc. But for those who know of her and her extraordinary talent, she is alluring to watch and her acting abilities extended far greater than most of her contemporaries.- Actress
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Gina Lollobrigida was born on July 4, 1927 in Subiaco, Italy. Destined to be called "The Most Beautiful Woman in the World", Gina possibly had St. Brigid as part of her surname. She was the daughter of a furniture manufacturer, and grew up in the pictorial mountain village. The young Gina did some modeling and, from there, went on to participate successfully in several beauty contests. In 1947, she entered a beauty competition for Miss Italy, but came in third. The winner was Lucia Bosè (born 1931), who would go on to appear in over 50 movies, and the first runner-up was Gianna Maria Canale (born 1927), who would appear in almost 50 films. After appearing in a half-dozen films in Italy, it was rumored that, in 1947, film tycoon Howard Hughes had her flown to Hollywood; however, this did not result in her staying in America, and she returned to Italy (her Hollywood breakout movie would not come until six years later in the John Huston film Beat the Devil (1953)).
Back in Italy, in 1949, Gina married Milko Skofic, a Slovenian (at the time, "Yugoslavian") doctor, by whom she had a son, Milko Skofic Jr. They would be married for 22 years, until their divorce in 1971. As her film roles and national popularity increased, Gina was tagged "The Most Beautiful Woman in the World", after her signature movie Beautiful But Dangerous (1955). Gina was nicknamed "La Lollo", as she embodied the prototype of Italian beauty. Her earthy looks and short "tossed salad" hairdo were especially influential and, in fact, there's a type of curly lettuce named "Lollo" in honor of her cute hairdo. Her film Come September (1961), co-starring Rock Hudson, won the Golden Globe Award as the World's Film Favorite. In the 1970s, Gina was seen in only a few films, as she took a break from acting and concentrated on another career: photography. Among her subjects were Paul Newman, Salvador Dalí and the German national soccer team.
A skilled photographer, Gina had a collection of her work "Italia Mia", published in 1973. Immersed in her other passions (sculpting and photography), it would be 1984 before Gina would grace American television on Falcon Crest (1981). Although Gina was always active, she only appeared in a few films in the 1990s. She retired from acting in 1997 after 50 years in the motion picture industry. In June 1999, she turned to politics and ran, unsuccessfully, for one of Italy's 87 European Parliament seats, from her hometown of Subiaco. Gina was also a corporate executive for fashion and cosmetics companies. As she told Parade magazine in April 2000: "I studied painting and sculpting at school and became an actress by mistake". (We're glad she made that mistake). Gina went on to say: "I've had many lovers and still have romances. I am very spoiled. All my life, I've had too many admirers."- Actor
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Peter Lorre was born László Löwenstein in Rózsahegy in the Slovak area of the Austro-Hungarian Empire, the son of Hungarian Jewish parents. He learned both Hungarian and German languages from birth, and was educated in elementary and secondary schools in the Austria-Hungary capitol Vienna, but did not complete. As a youth he ran away from home, first working as a bank clerk, and after stage training in Vienna, Austria, made his acting debut at age 17 in 1922 in Zurich, Switzerland. He traveled for several years acting on stage throughout his home region, Vienna, Berlin, and Zurich, including working with Bertolt Brecht, until Fritz Lang cast him in a starring role as the psychopathic child killer in the German film M (1931).
After several more films in Germany, including a couple roles for which he learned to speak French, Lorre left as the Nazis came to power, going first to Paris where he made one film, then London where Alfred Hitchcock cast him as a creepy villain in The Man Who Knew Too Much (1934), where he learned his lines phonetically, and finally arrived in Hollywood in 1935. In his first two roles there he starred as a mad scientist in Mad Love (1935) directed by recent fellow-expatriate Karl Freund, and the leading part of Raskolnikov in Crime and Punishment (1935), by another expatriate German director Josef von Sternberg, a successful movie made at Lorre's own suggestion. He returned to England for a role in another Hitchcock film, Secret Agent (1936), then back to the US for a few more films before checking into a rehab facility to cure himself of a morphine addiction.
After shaking his addiction, in order to get any kind of acting work, Lorre reluctantly accepted the starring part as the Japanese secret agent in Thank You, Mr. Moto (1937), wearing makeup to alter his already very round eyes for the part. He ended up committed to repeating the role for eight more "Mr. Moto" movies over the next two years.
Lorre played numerous memorable villain roles, spy characters, comedic roles, and even a romantic type, throughout the 1940s, beginning with his graduation from 30s B-pictures The Maltese Falcon (1941). Among his most famous films, Casablanca (1942), and a comedic role in the Broadway hit film Arsenic and Old Lace (1944).
After the war, between 1946 and '49 Lorre concentrated largely on radio and the stage, while continuing to appear in movies. In Autumn 1950 he traveled to West Gemany where he wrote, directed and starred in the critically acclaimed but generally unknown German-language film The Lost Man (1951), adapted from Lorre's own novel.
Lorre returned to the US in 1952, somewhat heavier in stature, where he used his abilities as a stage actor appearing in many live television productions throughout the 50s, including the first James Bond adaptation Casino Royale (1954), broadcast just a few months after Ian Fleming had published that first Bond novel. In that decade, Lorre had various roles, often to type but also as comedic caricatures of himself, in many episodes of TV series, and variety shows, though he continued to work in motion pictures, including the Academy Award winning Around the World in 80 Days (1956), and a stellar role as a clown in The Big Circus (1959).
In the late 50s and early 1960s he worked in several low-budget films, with producer-director Roger Corman, and producer-writer-director Irwin Allen, including the aforementioned The Big Circus and two adventurous Disney movies with Allen. He died from a stroke the year he made his last movie, playing a stooge in Jerry Lewis' The Patsy (1964).- Actor
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José Ferrer was a Puerto Rican actor and film director. He won an Academy Award for Best Actor for playing the title character in Cyrano de Bergerac (1950). Ferrer was the first Puerto Rican actor to win an Academy Award, and also the first Hispanic actor to win an Academy Award.
In 1912, Ferrer was born is San Juan, the capital city of Puerto Rico. Established as a Spanish colonial city in 1521, San Juan is the third oldest European-established capital city in the Americas, following Santo Domingo (established in 1496) and Panama City (established in 1521). Ferrer's father was Rafael Ferrer, a lawyer and author who was born and raised in San Juan. Ferrer's mother was María Providencia Cintrón, a native of the coastal town of Yabucoa. Ferrer's paternal grandfather was Dr. Gabriel Ferrer Hernández, who had campaigned for Puerto Rican independence from the Spanish Empire.
The Ferrer family moved to New York City in 1914, when José was 2-years-old. As a school student, Ferrer was educated abroad at the Institut Le Rosey, a prestigious boarding school located in Rolle, Switzerland. In 1933, Ferrer was enrolled at Princeton University, located in Princeton, New Jersey. He studied architecture, and wrote a senior thesis about French Naturalism and the literary works of Spanish naturalist writer Emilia Pardo Bazán (1851-1921). In 1934, Ferrer transferred to Columbia University, where he studied Romance languages.
In 1934, while still a college student, Ferrer made his theatrical debut in Long Island-based theatre. In 1935, he was hired as the stage manager at the Suffern Country Playhouse. Later in 1935, Ferrer made his Broadway debut in the comedy play "A Slight Case of Murder" by Damon Runyon (1880-1946) and Howard Lindsay (1889-1968). This stage production of the play ran for 69 performances, with Ferrer appearing in all of them.
Ferrer's major success as a Broadway actor was performing in the play "Brother Rat" by John Monks Jr. (1910-2004) and Fred F. Finklehoffe (1910-1977). The play had a ran of 577 performances from 1936 to 1938. Among his subsequent theatrical appearances, the most successful were staged productions of Mamba's Daughters (1938), which ran for 163 performances, and "Charley's Aunt" (1940-1941), which ran for 233 performances. His role in "Charley's Aunt" required him to perform in drag, for the first time in his career.
Ferrer had one of the greatest theatrical successes of his career when playing the villainous Iago in a Broadway production of "Othello' by William Shakespeare. The production had a ran of 296 performances, lasting from 1943 to 1944. Ferrer played his most famous role as the historical figure of Cyrano de Bergerac (1619-1655) in the 1946-1947 Broadway season. For this role, Ferrer won the 1947 Tony Award for Best Actor in a Play.
Ferrer made his film debut in the Technicolor epic "Joan of Arc" (1948). He played the historical monarch Charles VII of France (1403-1461, reigned 1422-1461), the ruler who Joan of Arc served during the Hundred Years' War. For his debut role, Ferrer was nominated for the Academy Award for Best Supporting Actor. The Award was instead won by rival actor Walter Huston (1883-1950).
Ferrer's success as a film actor, helped him gain more film roles in Hollywood-produced films. He played the "smooth-talking hypnotist David Korvo" in the film noir "Whirlpool" (1949), and dictator Raoul Farrago in the film noir "Crisis". He had a career highlight with a film adaptation of the play "Cyrano de Bergerac", where he played the title role. For this role, he won the Academy Award for Best Actor.
His next critically successful role was that of artist Henri de Toulouse-Lautrec (1864-1901) in the historical drama "Moulin Rouge" (1952). For this role, Ferrer was again nominated for the Academy Award for Best Actor. The award was instead won by rival actor Gary Cooper (1901-1961). The film also marked a financial success for Ferrer, who received 40% of the film's profits.
Ferrer also appeared in other box office hits of the 1950s, such as the musical "Miss Sadie Thompson" (1953), the Navy-themed drama "The Caine Mutiny" (1954), and the biographical film "Deep in My Heart" (1954). Ferrer was also interested in becoming a film director. He made his directing debut with the film noir "The Shrike" (1955). His subsequent directing efforts included war film "The Cockleshell Heroes" (1955), the film noir "The Great Man" (1956), the biographical film I Accuse! (1958), and the comedy film "The High Cost of Loving" (1958). While still critically well-received, several of these films were box office flops. He took a hiatus from films productions.
Ferrer attempted a comeback as a film director with the sequel film "Return to Peyton Place" (1961) and the musical film "State Fair" (1962). Both films were box office flops. As an actor, Ferrer had a supporting role as a Turkish Bey in the historical drama "Lawrence of Arabia" (1962). While a relatively minor role, Ferrer considered the finest role of his film career.
In television, Ferrer gained a notable role as the narrator in the pilot episode of the hit sitcom "Bewitched" (1964-1972). In films, Ferrer started playing mostly supporting roles. He briefly returned to the role of Cyrano de Bergerac in the French adventure film "Cyrano and d'Artagnan". He had another notable role as a historical monarch, playing Herod Antipas, Tetrarch of Galilee and Perea (reigned 4 BC-39 AD) in the Biblical epic "The Greatest Story Ever Told" (1965).
Ferrer had his first notable role as a voice actor, playing the villain Ben Haramed in the Rankin/Bass Christmas "The Little Drummer Boy" (1968). But at this time, he started having legal troubles. The Internal Revenue Service (IRS) accused Ferrer of still owing unpaid taxes since 1962.
Ferrer had many film roles in the 1970s, but no outstanding highlights. As a voice actor, he voiced Cyrano de Bergerac in an episode of "The ABC Afterschool Special". In the 1980s, Ferrer played a monarch again, playing Padishah Emperor Shaddam IV in the science fiction film "Dune". The film was an adaptation of the 1965 novel "Dune" by Frank Herbert (1920-1986), and Shaddam was one of the film's villains. This was among the last notable roles of Ferrer's long career.
Ferred retired from acting entirely in 1991, due to increasing health problems. His last theatrical performance was a production of the generation-gap drama "Conversations with My Father". Ferrer died in 1992, due to colorectal cancer. He was 80-years-old. He died in Coral Gables, Florida, but was buried in the Santa María Magdalena de Pazzis Cemetery of Old San Juan, Puerto Rico. Several of his children had acting careers of their own.- Actress
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Undoubtedly the woman who had come to epitomize what we recognize today as "celebrity," Zsa Zsa Gabor, is better known for her many marriages, personal appearances, her "dahlink" catchphrase, her actions, gossip, and quotations on men, rather than her film career.
Zsa Zsa was born as Sári Gabor on February 6, 1917 in Budapest, Hungary, to Jolie Gabor (née Janka Tilleman) and Vilmos Gabor (born Farkas Miklós Grün), both of Jewish descent. Her siblings were Eva Gabor and Magda Gabor. Zsa Zsa studied at a Swiss finishing school, was second runner-up in the fifth Miss Hungary pageant, and began her stage career in Vienna in 1934. In 1941, the year she obtained her first divorce, she followed younger sister Eva to Hollywood.
A radiant, beautiful blonde, Zsa Zsa began to appear on television series and occasional films. Her first film was at Metro-Goldwyn-Mayer in Lovely to Look At (1952), co-starring Kathryn Grayson and Red Skelton. She next made a comedy called We're Not Married! (1952) at 20th Century Fox with Ginger Rogers. It was far from a star billing; she appeared several names down the cast as a supporting actress. But in 1952 she broke into films big time with her starring role opposite José Ferrer in Moulin Rouge (1952), although it has been said that throughout filming, director John Huston gave her a very difficult time.
In the following years, Zsa Zsa slipped back into supporting roles in films such as Lili (1953) and 3 Ring Circus (1954). Her main period of film work was in the 1950s, with other roles in Death of a Scoundrel (1956), with Yvonne De Carlo, and The Man Who Wouldn't Talk (1958) with Anna Neagle; again, these were supporting roles. By the 1960s, Zsa Zsa was appearing more as herself in films. She now appeared to follow her own persona around, and cameo appearances were the order of the day in films such as Pepe (1960) and Jack of Diamonds (1967). This continued throughout the 1970s.
She was memorable as herself in The Naked Gun 2½: The Smell of Fear (1991), in which she humorously poked fun at a 1989 incident where she was convicted of slapping a police officer (Paul Kramer) during a traffic stop. She spent three days in jail and had to do 120 hours of community service. Such infamous incidents contributed to her becoming one of the most all-time recognizable of Hollywood celebrities, and sometimes ridiculed as a result. She was also memorable to British television viewers on The Ruby Wax Show (1997).
In 2002, Gabor was reported to be in a coma in a Los Angeles hospital after a horrifying car accident. The 85-year-old star was injured when the car she was traveling in hit a utility pole in West Hollywood, California. The reports about her coma eventually proved to be inaccurate.
Zsa Zsa's life, spanning two continents, nine husbands, and 11 decades, came to an end on December 18, 2016, when she died of cardiac arrest in Los Angeles, California. She was 99.- Actress
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Katharine Houghton Hepburn was born on May 12, 1907 in Hartford, Connecticut to a suffragist, Katharine Martha (Houghton), and a doctor, Thomas Norval Hepburn, who both always encouraged her to speak her mind, develop it fully, and exercise her body to its full potential. An athletic tomboy as a child, she was very close to her brother Tom; at 14 she was devastated to find him dead, the apparent result of accidentally hanging himself while practicing a hanging trick their father had taught them. For many years afterward, she used his November 8 birth date as her own. She became shy around girls her age and was largely schooled at home. She did attend Bryn Mawr College, where she decided to become an actress, appearing in many of their productions.
After graduating, she began getting small roles in plays on Broadway and elsewhere. She always attracted attention, especially for her role in "Art and Mrs. Bottle" (1931). She finally broke into stardom when she took the starring role of the Amazon princess Antiope in "A Warrior's Husband" (1932). The inevitable film offers followed; after making a few screen tests, she was cast in A Bill of Divorcement (1932), opposite John Barrymore. The film was a hit, and after agreeing to her salary demands, RKO signed her to a contract. She made five films between 1932 and 1934. For her third, Morning Glory (1933), she won her first Academy Award. Her fourth, Little Women (1933), was the most successful picture of its day.
But stories were beginning to leak out, of her haughty behavior off- screen and her refusal to play the Hollywood Game, always wearing slacks and no makeup, never posing for pictures or giving interviews. Audiences were shocked at her unconventional behavior instead of applauding it, and so when she returned to Broadway in 1934 to star in "The Lake", the critics panned her, and the audiences, who at first bought up tickets, soon deserted her. When she returned to Hollywood, things didn't get much better. From 1935-1938, she had only two hits: Alice Adams (1935), which brought her her second Oscar nomination, and Stage Door (1937); the many flops included Break of Hearts (1935), Sylvia Scarlett (1935), Mary of Scotland (1936), Quality Street (1937), and the now-classic Bringing Up Baby (1938).
With so many flops, she came to be labeled "box-office poison". She decided to go back to Broadway to star in "The Philadelphia Story" (1938) and was rewarded with a smash. She quickly bought the film rights and so was able to negotiate her way back to Hollywood on her own terms, including her choice of director and co-stars. The Philadelphia Story (1940) was a box-office hit, and Hepburn, who won her third Oscar nomination for the film, was bankable again. For her next film, Woman of the Year (1942), she was paired with Spencer Tracy, and the chemistry between them lasted for eight more films, spanning the course of 25 years, and a romance that lasted that long off-screen. (She received her fourth Oscar nomination for the film.) Their films included the very successful Adam's Rib (1949), Pat and Mike (1952), and Desk Set (1957).
With The African Queen (1951), Hepburn moved into middle-aged spinster roles, receiving her fifth Oscar nomination for the film. She played more of these types of roles throughout the 1950s, and won more Oscar nominations for many of them, including her roles in Summertime (1955), The Rainmaker (1956), and Suddenly, Last Summer (1959). Her film roles became fewer and farther between in the 1960s, as she devoted her time to the ailing Tracy. For one of her film appearances in this decade, in Long Day's Journey Into Night (1962), she received her ninth Oscar nomination. After a five-year absence from films, she then made Guess Who's Coming to Dinner (1967), her last film with Tracy and the last film Tracy ever made; he died just weeks after finishing it. It garnered Hepburn her tenth Oscar nomination and her second win. The next year, she did The Lion in Winter (1968), which brought her her eleventh Oscar nomination and third win.
In the 1970s, she turned to making made-for-TV films, with The Glass Menagerie (1973), Love Among the Ruins (1975), and The Corn Is Green (1979). She still continued to make an occasional appearance in feature films, such as Rooster Cogburn (1975) with John Wayne and On Golden Pond (1981) with Henry Fonda. This last brought her her twelfth Oscar nomination and fourth win - the latter still the record.
She made more TV-films in the 1980s and wrote her autobiography, 'Me', in 1991. Her last feature film was Love Affair (1994), with Warren Beatty and Annette Bening, and her last TV- film was One Christmas (1994). With her health declining, she retired from public life in the mid-1990s. She died at 96 at her home in Old Saybrook, Connecticut.- Actor
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Bushy-browed, triple-chinned and plummy-voiced English actor and raconteur of wide girth and larger-than-life personality. The son of a career army officer, Morley was expected to join the diplomatic corps. As a 'compromise', he tried his hand as a beer salesman. However, bitten by the acting bug since first performing in a kindergarten play, he prevailed over the wishes of his parents and enrolled at RADA. He made his theatrical debut at London's Strand Theatre, in a 1929 production of "Treasure Island", playing the part of a pirate for $5 a week. During the next few years, Morley honed his craft by touring regional theatres, writing or co-writing the occasional play, and, when money was hard to come by, selling vacuum cleaners. For a while, he managed his own repertory company in tandem with fellow actor Peter Bull in the Cornish seaside resort of Perranporth. Morley eventually returned to the London stage in a much acclaimed performance as "Oscar Wilde", a role he took to Broadway in October 1938.
On the strength of this, he was invited to Hollywood and garnered an Oscar nomination for his first screen role as the effete, simple-minded monarch Louis XVI, in MGM's lavish production of Marie Antoinette (1938). Back in Britain, he then played the armaments millionaire Andrew Undershaft in George Bernard Shaw's Major Barbara (1941), a performance praised by Bosley Crowther as "deliciously satanic, profoundly suave and tender" (NY Times, May 15 1941). Happily managing to avoid military participation in the Second World War, Morley spent the remainder of the decade acting in such prestigious theatrical showpieces as "The Man Who Came to Dinner", and as star and co-author of "Edward, My Son". His defining performance in the play led the critic Brooks Atkinson to comment on his "studied authority ... which might sound like an affectation in an actor of inferior style"(NY Times, June 4 1992).
Morley acted on screen in a variety of very British, sometimes eccentric, sometimes giddy, often pompous, but rarely dislikeable characters. At his best, he was the expatriate Elmer Almayer, at once pitiable and overbearing, in Outcast of the Islands (1951); the Sydney Greenstreet parody Peterson in John Huston's Beat the Devil (1953); as another languid monarch, George III in the colourful period drama Beau Brummell (1954); as Oscar Wilde (1960), recreating his original stage triumph; and as a food critic in the hugely enjoyable Who Is Killing the Great Chefs of Europe? (1978). He also performed occasionally in TV movies and miniseries. His wit was much appreciated on chat shows, both in Britain and the U.S., where was a frequent and popular guest. He was also the voice of British Airways in commercials of the 70's and early 80's, promising "we'll take good care of you" -- something he did with his acting for over half a century. Robert Morley was awarded a CBE in 1957. He died as the result of a stroke in Reading, Berkshire, at the age of 84.- Actor
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Audie Murphy became a national hero during World War II as the most decorated combat soldier of the war. Among his 33 awards was the Medal of Honor, the highest award for bravery that a soldier can receive. In addition, he was also decorated for bravery by the governments of France and Belgium, and was credited with killing over 240 German soldiers and wounding and capturing many more.
Audie Leon Murphy was born in Kingston, Hunt County, Texas, to Josie Bell (Killian) and Emmett Berry Murphy, poor sharecroppers of Irish descent. After the death of his mother and the outbreak of WWII, Murphy enlisted in the army on his 17th birthday in June 1942 after being turned down by the Navy and the Marines. His eldest sister had provided a false affidavit that he was a year older (18) than his actual age.
After undergoing basic military training, he was sent first to North Africa. However, the Allies drove the German army from Tunisia, their last foothold in North Africa, before Murphy's unit could be sent into battle. His first engagement with Axis forces came when his unit was sent to Europe. First landing on the island of Sicily, next mainland Italy, and finally France, he fought in seven major campaigns over three years and rose from the rank of private to a battlefield commission as a second lieutenant.
Part of Murphy's appeal to many people was that he did't fit the "image" most had of a war hero. He was a slight, almost fragile-looking, shy and soft-spoken young man, whose boyish appearance often shocked people when they learned, for example, that during one battle he leaped on top of a burning tank--which was loaded with fuel and ammunition and could have exploded at any second--and used its machine gun to hold off waves of attacking German troops, killing dozens of them and saving his own unit from certain destruction and the entire line from being overrun.
In September 1945, Murphy was released from active duty, promoted to 1st Lieutenant, and assigned to inactive status. His story caught the interest of superstar James Cagney, who invited Murphy to Hollywood.
Cagney Productions paid for acting and dancing lessons but was reluctantly forced to admit that Murphy -- at least at that point in his career -- didn't have what it took to become a movie star. For the next several years he struggled to make it as an actor, but jobs were few --specifically just two bit parts in Beyond Glory (1948) and Texas, Brooklyn & Heaven (1948). He finally got a lead role in Bad Boy (1949), and starred in the trouble-plagued production of MGM's The Red Badge of Courage (1951), directed by John Huston. While this film is now considered a minor classic, the politics behind the production sparked an irreparable fissure within the ranks of the studio's upper management.
Murphy proved adequate as an actor, but the film, with virtually no female presence (or appeal), bombed badly at the box office. Murphy, however, had already signed with Universal-International Pictures, which was putting him in a string of modestly budgeted Westerns, a genre that suited his easygoing image and Texas drawl. He starred in the film version of his autobiography, To Hell and Back (1955), which was a huge hit, setting a box-office record for Universal that wasn't broken for 20 years until it was finally surpassed by Jaws (1975)). One of his better pictures was Night Passage (1957), a Western in which he played the kid brother of James Stewart. He worked with Huston again on The Unforgiven (1960).
Meanwhile, the studio system that Murphy grew into as an actor crumbled. Universal's new owners, MCA, dumped its "International" tag in 1962 and turned the studio's focus toward the more lucrative television industry. For theatrical productions, it dropped its roster of contract players and hired actors on a per-picture basis only. That cheap Westerns on the big screen were becoming a thing of the past bode no good for Murphy, either. The Texican (1966), his lone attempt at a new, European form of inexpensive horse opera, to become known as "the Spaghetti Western", was unsuccessful. His star was falling fast.
In addition to his acting career -- he made a total of 44 films -- Murphy was a rancher and businessman. He bred and raised thoroughbred horses and owned several ranches in Texas, Arizona and California. He was also a songwriter, and penned hits for such singers as Dean Martin, Eddy Arnold, Charley Pride, and many others.
During his postwar life, he suffered from what is now called Post-Traumatic Stress Disorder (PTSD) but was then called "combat fatigue", and was known to have a hair-trigger temper. He woke up screaming at night and slept with a loaded M1911 .45 semi-automatic pistol nearby. He was acquitted of attempted murder charges brought about by injuries he inflicted on a man in a bar fight. Director Don Siegel said in an interview that Murphy often carried a pistol on the set of The Gun Runners (1958) and many of the cast and crew were afraid of him.
He had a short-lived and turbulent marriage to Wanda Hendrix, and in the 1960s his increasing bouts of insomnia and depression resulted in his becoming addicted to a particularly powerful sleeping pill called Placidyl, an addiction he eventually broke. He ran into a streak of bad financial luck and was forced to declare bankruptcy in 1968. Admirably, he campaigned vigorously for the government to spend more time and money on taking care of returning Vietnam War veterans, as he knew, more than most, what kinds of problems they were going to have.
On May 18, 1971, Murphy was aboard a private plane on his way to a business meeting when it ran into thick fog over Craig County, Virginia, near Roanoke, and crashed into the side of a mountain, killing all six aboard. He was buried with full military honors in Arlington National Cemetery. According to cemetery records, the only gravesite visited by more people than that of Murphy is that of assassinated President John F. Kennedy.- Actor
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William Clark Gable was born on February 1, 1901 in Cadiz, Ohio, to Adeline (Hershelman) and William Henry Gable, an oil-well driller. He was of German, Irish, and Swiss-German descent. When he was seven months old, his mother died, and his father sent him to live with his maternal aunt and uncle in Pennsylvania, where he stayed until he was two. His father then returned to take him back to Cadiz. At 16, he quit high school, went to work in an Akron, Ohio, tire factory, and decided to become an actor after seeing the play "The Bird of Paradise". He toured in stock companies, worked oil fields and sold ties. On December 13, 1924, he married Josephine Dillon, his acting coach and 15 years his senior. Around that time, they moved to Hollywood, so that Clark could concentrate on his acting career. In April 1930, they divorced and a year later, he married Maria Langham (a.k.a. Maria Franklin Gable), also about 17 years older than him.
While Gable acted on stage, he became a lifelong friend of Lionel Barrymore. After several failed screen tests (for Barrymore and Darryl F. Zanuck), Gable was signed in 1930 by MGM's Irving Thalberg. He had a small part in The Painted Desert (1931) which starred William Boyd. Joan Crawford asked for him as co-star in Dance, Fools, Dance (1931) and the public loved him manhandling Norma Shearer in A Free Soul (1931) the same year. His unshaven lovemaking with bra-less Jean Harlow in Red Dust (1932) made him MGM's most important star.
His acting career then flourished. At one point, he refused an assignment, and the studio punished him by loaning him out to (at the time) low-rent Columbia Pictures, which put him in Frank Capra's It Happened One Night (1934), which won him an Academy Award for his performance. The next year saw a starring role in Call of the Wild (1935) with Loretta Young, with whom he had an affair (resulting in the birth of a daughter, Judy Lewis). He returned to far more substantial roles at MGM, such as Fletcher Christian in Mutiny on the Bounty (1935) and Rhett Butler in Gone with the Wind (1939).
After divorcing Maria Langham, in March 1939 Clark married Carole Lombard, but tragedy struck in January 1942 when the plane in which Carole and her mother were flying crashed into Table Rock Mountain, Nevada, killing them both. A grief-stricken Gable joined the US Army Air Force and was off the screen for three years, flying combat missions in Europe. When he returned the studio regarded his salary as excessive and did not renew his contract. He freelanced, but his films didn't do well at the box office. He married Sylvia Ashley, the widow of Douglas Fairbanks, in 1949. Unfortunately this marriage was short-lived and they divorced in 1952. In July 1955 he married a former sweetheart, Kathleen Williams Spreckles (a.k.a. Kay Williams) and became stepfather to her two children, Joan and Adolph ("Bunker") Spreckels III.
On November 16, 1959, Gable became a grandfather when Judy Lewis, his daughter with Loretta Young, gave birth to a daughter, Maria. In 1960, Gable's wife Kay discovered that she was expecting their first child. In early November 1960, he had just completed filming The Misfits (1961), when he suffered a heart attack, and died later that month, on November 16, 1960. Gable was buried shortly afterwards in the shrine that he had built for Carole Lombard and her mother when they died, at Forest Lawn Cemetery.
In March 1961, Kay Gable gave birth to a boy, whom she named John Clark Gable after his father.- Actress
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Marilyn Monroe was an American actress, comedienne, singer, and model. Monroe is of English, Irish, Scottish and Welsh descent. She became one of the world's most enduring iconic figures and is remembered both for her winsome embodiment of the Hollywood sex symbol and her tragic personal and professional struggles within the film industry. Her life and death are still the subjects of much controversy and speculation.
She was born Norma Jeane Mortenson at the Los Angeles County Hospital on June 1, 1926. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Because Gladys was mentally and financially unable to care for young Marilyn, Gladys placed her in the care of a foster family, The Bolenders. Although the Bolender family wanted to adopt Marilyn, Gladys was eventually able to stabilize her lifestyle and took Marilyn back in her care when Marilyn was 7 years old. However, shortly after regaining custody of Marilyn, Gladys had a complete mental breakdown and was diagnosed as a paranoid schizophrenic and was committed to a state mental hospital. Gladys spent the rest of her life going in and out of hospitals and rarely had contact with young Marilyn. Once Marilyn became an adult and celebrated as a film star, she paid a woman by the name of Inez Melson to look in on the institutionalized Gladys and give detailed reports of her progress. Gladys outlived her daughter, dying in 1984.
Marilyn was then taken in by Gladys' best friend Grace Goddard, who, after a series of foster homes, placed Marilyn into the Los Angeles Orphan's Home in 1935. Marilyn was traumatized by her experience there despite the Orphan's Home being an adequate living facility. Grace Goddard eventually took Marilyn back to live with her in 1937 although this stay did not last long as Grace's husband began molesting Marilyn. Marilyn went to live with Grace's Aunt Ana after this incident, although due to Aunt Ana's advanced age she could not care properly for Marilyn. Marilyn once again for the third time had to return to live with the Goddards. The Goddards planned to relocated and according to law, could not take Marilyn with them. She only had two choices: return to the orphanage or get married. Marilyn was only 16 years old.
She decided to marry a neighborhood friend named James Dougherty; he went into the military, she modeled, they divorced in 1946. She owned 400 books (including Tolstoy, Whitman, Milton), listened to Beethoven records, studied acting at the Actors' lab in Hollywood, and took literature courses at UCLA downtown. 20th Century Fox gave her a contract but let it lapse a year later. In 1948, Columbia gave her a six-month contract, turned her over to coach Natasha Lytess and featured her in the B movie Ladies of the Chorus (1948) in which she sang three numbers : "Every Baby Needs a Da Da Daddy", "Anyone Can Tell I Love You" and "The Ladies of the Chorus" with Adele Jergens (dubbed by Virginia Rees) and others. Joseph L. Mankiewicz saw her in a small part in The Asphalt Jungle (1950) and put her in All About Eve (1950) , resulting in 20th Century re-signing her to a seven-year contract. Niagara (1953) and Gentlemen Prefer Blondes (1953) launched her as a sex symbol superstar.
When she went to a supper honoring her in the The Seven Year Itch (1955) , she arrived in a red chiffon gown borrowed from the studio (she had never owned a gown). That same year, she married and divorced baseball great Joe DiMaggio (their wedding night was spent in Paso Robles, California). After The Seven Year Itch (1955) , she wanted serious acting to replace the sexpot image and went to New York's Actors Studio. She worked with director Lee Strasberg and also underwent psychoanalysis to learn more about herself. Critics praised her transformation in Bus Stop (1956) and the press was stunned by her marriage to playwright Arthur Miller . True to form, she had no veil to match her beige wedding dress so she dyed one in coffee; he wore one of the two suits he owned. They went to England that fall where she made The Prince and the Showgirl (1957) with Laurence Olivier , fighting with him and falling further prey to alcohol and pills. Two miscarriages and gynecological surgery followed. So had an affair with Yves Montand . Work on her last picture The Misfits (1961) , written for her by departing husband Miller, was interrupted by exhaustion. She was dropped from the unfinished Something's Got to Give (1962) due to chronic lateness and drug dependency.
On August 4, 1962, Marilyn Monroe's day began with threatening phone calls. Dr. Ralph Greenson, Marilyn's physician, came over the following day and quoted later in a document "Felt it was possible that Marilyn had felt rejected by some of the people she had been close to." Apart from being upset that her publicist slept too long, she seemed fine. Pat Newcombe, who had stayed the previous night at Marilyn's house, left in the early evening as did Greenson who had a dinner date. Marilyn was upset he couldn't stay, and around 7:30pm she telephoned him to say that her second husband's son had called her. Peter Lawford also called Marilyn, inviting her to dinner, but she declined. Lawford later said her speech was slurred. As the evening went on there were other phone calls, including one from Jose Belanos, who said he thought she sounded fine. According to the funeral directors, Marilyn died sometime between 9:30pm and 11:30pm. Her maid unable to raise her but seeing a light under her locked door, called the police shortly after midnight. She also phoned Ralph Greenson who, on arrival, could not break down the bedroom door. He eventually broke in through French windows and found Marilyn dead in bed. The coroner stated she had died from acute barbiturate poisoning, and it was a 'probable suicide' though many conspiracies would follow in the years after her death.- Born to George & Frances Simonson Walter, and named Sterling Relyea Walter. Father died in 1925. Adopted by stepfather 'James Hayden' renamed Sterling Walter Hayden. Grew up in New Hampshire, Massachusetts, Pennsylvania, Washington D.C., and Maine. Though very poor, attended prep school at Wassookeag School in Dexter, Maine. Ran away to sea at 17, first as ship's boy, then as doryman on the Grand Banks, as a seaman and fireman on numerous vessels before getting his first command at 19. He sailed around the world a number of times, becoming a well-known and highly respected ship's captain. At urging of friends, met with producer Edward H. Griffith who signs him to a Paramount contract. Fell for his first leading lady, Madeleine Carroll, and married her. Prior to Pearl Harbor, abandoned Hollywood to become a commando with the COI (later the OSS). Joined Marines under pseudonym "John Hamilton" (a name he never acts under), eventually running guns and supplies to Yugoslav partisans through the German blockade of the Adriatic, as well as parachuting into Croatia for guerrilla activities. Won Silver Star and citation from Tito of Yugoslavia. Briefly flirted with Communist Party membership due to friendship with Yugoslav Communists. Returned to film work, which he despised, in order to pay for a succession of sailing vessels. As Red Scare deepens in U.S., he cooperated with the House Un-American Activities Committee, confessing his brief Communist ties. Ever after regretted this action, holding himself in enormous contempt for what he considered "ratting". Offered role of Tarzan as replacement for Lex Barker, but refused. Made headlines defying court order not to sail to Tahiti with his children following divorce decree. Published autobiography "Wanderer" in 1963, and novel "Voyage" in 1976, both to great acclaim. Cast as Quint in Jaws (1975) but unable to play due to tax problems. Died of cancer in 1986.
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Tall, distinguished, aristocratic Louis Calhern seemed to be the poster boy for old-money, upper-crust urban society, but he was actually born Carl Vogt, to middle-class parents in New York City. His family moved to St. Louis when he was a child, and it was while playing football in high school there that he was spotted by a representative of a touring acting troupe and hired as an actor. He returned to New York to work in the theater, but his career was interrupted by military service in France in World War I. He returned to the stage after the war, and eventually broke into films. Although his regal bearing would seem to pigeonhole him in aristocratic parts in serious drama, he proved to be a very versatile actor, as much at home playing a comic foil to The Marx Brothers in Duck Soup (1933) as he was as Buffalo Bill to Betty Hutton's Annie Oakley in Annie Get Your Gun (1950) or, most memorably, the lawyer involved with the criminal gang in The Asphalt Jungle (1950). Married four times, he was in Tokyo, Japan, filming The Teahouse of the August Moon (1956) when he suffered a fatal heart attack.- Actor
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John Garfield was born Jacob Julius Garfinkle on the Lower East Side of New York City, to Hannah Basia (Margolis) and David Garfinkle, who were Jewish immigrants from Zhytomyr (now in Ukraine). Jules was raised by his father, a clothes presser and part-time cantor, after his mother's death in 1920, when he was 7. He was sent to a special school for problem children, where he was introduced to boxing and drama. He won a scholarship to Maria Ouspenskaya's drama school. He joined the Civic Repertory Theatre in 1932, changing his name to Jules Garfield and making his Broadway debut in that company's Counsellor-at-Law. Joined the Group Theatre company, winning acclaim for his role in Awake and Sing. Embittered over being passed over for the lead in Golden Boy, which was written for him, he signed a contract with Warner Brothers, who changed his name to John Garfield. Won enormous praise for his role of the cynical Mickey Borden in Four Daughters (1938). Appeared in similar roles throughout his career despite his efforts to play varied parts. Children Katherine (1938-1945), David Garfield (1942-1995) and Julie Garfield (1946-). Active in liberal political and social causes, he found himself embroiled in Communist scare of the late 1940s. Though he testified before Congress that he was never a Communist, his ability to get work declined. While separated from his wife, he succumbed to long-term heart problems, dying suddenly in the home of a woman friend at 39. His funeral was mobbed by thousands of fans, in the largest funeral attendance for an actor since Rudolph Valentino.- Actor
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Born in Mexican revolution times, Pedro Armendáriz was the first child of Mexican Pedro Armendáriz García-Conde and American Adele Hastings. He was raised in Churubusco, then a suburb of Mexico City, before the family traveled to Laredo, Texas. They lived there until 1921, the year Armendáriz' parents died. His uncle Francisco took charge of his education, and young Pedro went to the Polytechnic Institute of San Luis Obispo, California. There, he studied business and journalism. He graduated in 1931 and returned to Mexico City where he found work as a railroad employee, insurance salesman and tourist guide. He was discovered by director Miguel Zacarías when Armendáriz was reciting Hamlet's monologue (to be or not to be) to an American tourist in a cafeteria.
After that, Armendáriz began a brilliant career in Mexico, the United States and Europe. Together with Dolores Del Río and Emilio Fernández, Armendáriz made many of the greatest films in the so-called Mexican Cinema Golden Era: Wild Flower (1943), Bugambilia (1945), Maria Candelaria (1944), among others. He was considered a prototype of masculinity and male beauty. His green eyes and almost perfect features made him perfectly cast in any role he made. But it was his passion, force and acting abilities, combined with his quality of a gentleman what made him an instant favorite of great directors like John Ford, international costars like María Félix, Sean Connery or Susan Hayward, and his fans in Mexico and other countries.- Actor
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For many years Walter Huston had two passions: his career as an engineer and his vocation for the stage. In 1909 he dedicated himself to the theatre, and made his debut on Broadway in 1924. In 1929 he journeyed to Hollywood, where his talent and ability made him one of the most respected actors in the industry. He won a Best Supporting Actor Academy Award for The Treasure of the Sierra Madre (1948).- Actress
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Mary Astor was born Lucile Vasconcellos Langhanke on May 3, 1906 in Quincy, Illinois to Helen Marie Vasconcellos, an American of Portuguese and Irish ancestry from Illinois, and Otto Ludwig Langhanke, a German immigrant. Mary's parents were very ambitious for her and wanted something better for her than what they had, and knew that if they played their cards right, they could make her famous. Recognizing her beauty, they pushed her into various beauty contests. Luck was with Mary and her parents because one contest came to the attention of Hollywood moguls who signed her when she was 14.
Mary's first movie was a bit part in The Scarecrow (1920). It wasn't much, but it was a start. Throughout 1921-1923 she continued her career with bit or minor roles in a number of motion pictures. In 1924, she landed a plum assignment with a role as Lady Margery Alvaney opposite the great John Barrymore in the film Beau Brummel (1924). This launched her career to stardom, as did a lively affair with Barrymore. However, the affair ended before she could star with him again in the classic Don Juan (1926). By now, Mary was the new cinematic darling, with each film packing the theaters.
By the end of the 1920s, the sound revolution had taken a stronghold on the industry, and Mary was one of those lucky actresses who made the successful transition to "talkies" because of her voice and strong screen presence. Mary's career soared to greater heights. Films such as Red Dust (1932), Convention City (1933), Man of Iron (1935), and The Prisoner of Zenda (1937) kept her star at the top. In 1938, she turned out five feature films that kept her busy and in the spotlight. After that, she churned out films at a lesser rate. In 1941 she won the Best Supporting Actress Oscar for her role as Sandra Kovac in The Great Lie (1941). That same year she appeared in the celebrated film The Maltese Falcon (1941), but her star soon began to fall.
Because of her three divorces, her first husband Kenneth Hawks' death in a plane crash, alcoholism, a suicide attempt, and a persistent heart condition, Mary started to get smaller film roles. She appeared in only five productions throughout the 1950s. Her final fling with the silver screen was as Jewell Mayhew in Hush...Hush, Sweet Charlotte (1964).Although it was her final film, she had appeared in a phenomenal 123 motion pictures in her entire career.
Mary lived out her remaining years confined to the Motion Picture Country Home, where she died of a heart attack on September 25, 1987. She was 81.- Actor
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Sydney Greenstreet's father was a leather merchant with eight children. Sydney left home at age 18 to make his fortune as a Ceylon tea planter, but drought forced him out of business and back to England. He managed a brewery and, to escape boredom, took acting lessons. His stage debut was as a murderer in a 1902 production of "Sherlock Holmes". From then on he appeared in numerous plays in England and the US, working through most of the 1930s with Alfred Lunt and Lynn Fontanne at the Theatre Guild. His parts ranged from musical comedy to Shakespeare. His film debut, occurring when he was 62 years old and weighing nearly 300 pounds, was as Kasper Guttman in the classic The Maltese Falcon (1941), with Humphrey Bogart and Peter Lorre. He teamed with Lorre in eight more movies after that. In eight years he made 24 films, all while beset by diabetes and Bright's disease. In 1949 he retired from films, and died four years later. He was 75.- Actress
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Ruth Elizabeth Davis was born April 5, 1908, in Lowell, Massachusetts, to Ruth Augusta (Favor) and Harlow Morrell Davis, a patent attorney. Her parents divorced when she was 10. She and her sister were raised by their mother. Her early interest was dance. To Bette, dancers led a glamorous life, but then she discovered the stage, and gave up dancing for acting. To her, it presented much more of a challenge.
After graduation from Cushing Academy, she was refused admittance to Eva Le Gallienne's Manhattan Civic Repertory. She enrolled in John Murray Anderson's Dramatic School and was the star pupil. She was in the off-Broadway play "The Earth Between" (1923), and her Broadway debut in 1929 was in "Broken Dishes". She also appeared in "Solid South". Late in 1930, she was hired by Universal, where she made her first film, called Bad Sister (1931). When she arrived in Hollywood, the studio representative who went to meet her train left without her because he could find no one who looked like a movie star. An official at Universal complained she had "as much sex appeal as Slim Summerville" and her performance in "Bad Sister" didn't impress.
In 1932, she signed a seven-year deal with Warner Brothers Pictures. Her first film with them was The Man Who Played God (1932). She became a star after this appearance, known as the actress that could play a variety of very strong and complex roles. More fairly successful movies followed, but it was the role of Mildred Rogers in RKO's Of Human Bondage (1934) that would give Bette major acclaim from the film critics. She had a significant number of write-in votes for the Best Actress Oscar, but didn't win. Warner Bros. felt their seven-year deal with Bette was more than justified. They had a genuine star on their hands. With this success under her belt, she began pushing for stronger and more meaningful roles. In 1935, she received her first Oscar for her role in Dangerous (1935) as Joyce Heath.
In 1936, she was suspended without pay for turning down a role that she deemed unworthy of her talent. She went to England, where she had planned to make movies, but was stopped by Warner Bros. because she was still under contract to them. They did not want her to work anywhere. Although she sued to get out of her contract, she lost. Still, they began to take her more seriously after that.
Returning after losing her lawsuit, her roles improved dramatically. In 1938, Bette received a second Academy Award win for her work in Jezebel (1938) opposite the soon-to-be-legendary Henry Fonda. The only role she didn't get that she wanted was Scarlett O'Hara in Gone with the Wind (1939). Warners wouldn't loan her to David O. Selznick unless he hired Errol Flynn to play Rhett Butler, which both Selznick and Davis thought was a terrible choice. It was rumored she had numerous affairs, among them George Brent and William Wyler, and she was married four times, three of which ended in divorce. She admitted her career always came first.
She made many successful films in the 1940s, but each picture was weaker than the last and by the time her Warner Brothers contract had ended in 1949, she had been reduced to appearing in such films as the unintentionally hilarious Beyond the Forest (1949). She made a huge comeback in 1950 when she replaced an ill Claudette Colbert in, and received an Oscar nomination for, All About Eve (1950). She worked in films through the 1950s, but her career eventually came to a standstill, and in 1961 she placed a now famous Job Wanted ad in the trade papers.
She received an Oscar nomination for her role as a demented former child star in What Ever Happened to Baby Jane? (1962). This brought about a new round of super-stardom for generations of fans who were not familiar with her work. Two years later, she starred in Hush...Hush, Sweet Charlotte (1964). Bette was married four times.
In 1977 she received the AFI's Lifetime Achievement Award and in 1979 she won a Best Actress Emmy for Strangers: The Story of a Mother and Daughter (1979). In 1977-78 she moved from Connecticut to Los Angeles and filmed a pilot for the series Hotel (1983), which she called Brothel. She refused to do the TV series and suffered a stroke during this time.
Her last marriage, to actor Gary Merrill, lasted ten years, longer than any of the previous three. In 1985, her daughter Barbara Davis ("B.D.") Hyman published a scandalous book about Bette called "My Mother's Keeper." Bette worked in the later 1980s in films and TV, even though a stroke had impaired her appearance and mobility. She wrote a book, "This 'N That", during her recovery from the stroke. Her last book was "Bette Davis, The Lonely Life", issued in paperback in 1990. It included an update from 1962 to 1989. She wrote the last chapter in San Sebastian, Spain.
Sadly, Bette Davis died on October 6, 1989, of metastasized breast cancer, in Neuilly-sur-Seine, Hauts-de-Seine, France. Many of her fans refused to believe she was gone.- Actress
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Olivia Mary de Havilland was born on July 1, 1916 in Tokyo, Japan to British parents, Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her sister Joan, later to become famous as Joan Fontaine, was born the following year. Her surname comes from her paternal grandfather, whose family was from Guernsey in the Channel Islands. Her parents divorced when Olivia was just three years old, and she moved with her mother and sister to Saratoga, California.
After graduating from high school, where she fell prey to the acting bug, Olivia enrolled in Mills College in Oakland, where she participated in the school play "A Midsummer Night's Dream" and was spotted by Max Reinhardt. She so impressed Reinhardt that he picked her up for both his stage version and, later, the Warner Bros. film version in 1935. She again was so impressive that Warner executives signed her to a seven-year contract. No sooner had the ink dried on the contract than Olivia appeared in three more films: The Irish in Us (1935), Alibi Ike (1935), and Captain Blood (1935), this last with the man with whom her career would be most closely identified: heartthrob Errol Flynn. He and Olivia starred together in eight films during their careers. In 1939 Warner Bros. loaned her to David O. Selznick for the classic Gone with the Wind (1939). Playing sweet Melanie Hamilton, Olivia received her first nomination for an Academy Award for Best Supporting Actress, only to lose out to one of her co-stars in the film, Hattie McDaniel.
After GWTW, Olivia returned to Warner Bros. and continued to churn out films. In 1941 she played Emmy Brown in Hold Back the Dawn (1941), which resulted in her second Oscar nomination, this time for Best Actress. Again she lost, this time to her sister Joan for her role in Suspicion (1941). After that strong showing, Olivia now demanded better, more substantial roles than the "sweet young thing" slot into which Warners had been fitting her. The studio responded by placing her on a six-month suspension, all of the studios at the time operating under the policy that players were nothing more than property to do with as they saw fit. As if that weren't bad enough, when her contract with Warners was up, she was told that she needed to make up the time lost because of the suspension. Irate, she sued the studio, and for the length of the court battle she didn't appear in a single film. The result, however, was worth it. In a landmark decision, the court said that not only would Olivia not need to make up the time, but also that all performers would be limited to a seven-year contract that would include any suspensions handed down. This became known as the "de Havilland decision": no longer could studios treat their performers as chattel. Olivia returned to the screen in 1946 and made up for lost time by appearing in four films, one of which finally won her the Oscar that had so long eluded her: To Each His Own (1946), in which she played Josephine Norris to the delight of critics and audiences alike. Olivia was the strongest performer in Hollywood for the balance of the 1940s.
In 1948 she turned in another strong showing in The Snake Pit (1948) as Virginia Cunningham, a woman suffering a mental breakdown. The end result was another Oscar nomination for Best Actress, but she lost to Jane Wyman in Johnny Belinda (1948). As in the two previous years, she made only one film in 1949, but she again won a nomination and the Academy Award for Best Actress for The Heiress (1949). After a three-year hiatus, Olivia returned to star in My Cousin Rachel (1952). From that point on, she made few appearances on the screen but was seen on Broadway and in some television shows. Her last screen appearance was in The Fifth Musketeer (1979), and her last career appearance was in the TV movie The Woman He Loved (1988).
Her turbulent relationship with her only sibling, Joan Fontaine, was press fodder for many decades; the two were reported as having been permanently estranged since their mother's death in 1975, when Joan claimed that she had not been invited to the memorial service, which she only managed to hold off until she could arrive by threatening to go public. Joan also wrote in her memoir that her elder sister had been physically, psychologically, and emotionally abusive when they were young. And the iconic photo of Joan with her hand outstretched to congratulate Olivia backstage after the latter's first Oscar win and Olivia ignoring it because she was peeved by a comment Joan had made about Olivia's new husband, Marcus Goodrich, remained part of Hollywood lore for many years.
Nonetheless, late in life, Fontaine gave an interview in which she serenely denied any and all claims of an estrangement from her sister. When a reporter asked Joan if she and Olivia were friends, she replied, "Of course!" The reporter responded that rumors to the contrary must have been sensationalism and she replied, "Oh, right--they have to. Two nice girls liking each other isn't copy." Asked if she and Olivia were in communication and spoke to each other, Joan replied "Absolutely." When asked if there ever had been a time when the two did not get along to the point where they wouldn't speak with one another, Joan replied, again, "Never. Never. There is not a word of truth about that." When asked why people believe it, she replied "Oh, I have no idea. It's just something to say ... Oh, it's terrible." When asked if she had seen Olivia over the years, she replied, "I've seen her in Paris. And she came to my apartment in New York often." The reporter stated that all this was a nice thing to hear. Joan then stated, "Let me just say, Olivia and I have never had a quarrel. We have never had any dissatisfaction. We have never had hard words. And all this is press." Joan died in 2013.
During the hoopla surrounding the 50th anniversary of GWTW in 1989, Olivia graciously declined requests for all interviews as the last of the four main stars. She enjoyed a quiet retirement in Paris, France, where she resided for many decades, and where she died on 26 July, 2020, at the age of 104.
As well as being the last surviving major cast member of some of cinema's most beloved pre-war and wartime film classics (including The Adventures of Robin Hood (1938) and Gone with the Wind (1939)), and one of the longest-lived major stars in film history, Olivia de Havilland was unquestionably the last surviving iconic figure from the peak of Hollywood's golden era during the late 1930s, and her passing truly marked the end of an era.- Actor
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A cigar-smoking, monocled, swag-bellied character actor known for his Old South manners and charm. In 1918 he and his first wife formed the Coburn Players and appeared on Broadway in many plays. With her death in 1937, he accepted a Hollywood contract and began making films at the age of sixty.