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- Actor
- Soundtrack
The dark blond with deep blue eyes and cute "Buster Brown" haircut who was equipped with a deadly acute, dry facade was born George Karl Wentzlaff in Los Angeles on May 3, 1946. While it would have been hard for anyone to steal scenes from the likes of such veteran comedy superstars as Marilyn Monroe, Clifton Webb or Cary Grant, six-year-old frozen-faced Georgie, with his inimitable froggy bass voice, managed to do just that, lending a grudging credence to W.C. Fields' philosophy about working with child actors and/or animals.
Small and slight even for his young age, George was initially pitched to Art Linkletter by his parents (his father's name was Karl) at the encouragement of an uncle for the family-oriented radio program "People Are Funny" in the early 1950s. The boy's unique raspy tones and hilariously deadpan delivery was a huge hit on the show. When Art asked George his name, the youngster replied, "George Wentzlaff, but I'd rather be Casey Jones." That one sentence alone had the audience (not to mention Linkletter himself) in absolute stitches. Against the usual Linkletter policy, the boy was allowed to return to Linkletter's show, and did so a record number of times (around 20).
Luckily, Cary Grant, also caught the boy on the show, was quite taken by the boy's sharp and mature comedy instincts, not to mention his startlingly funny voice and brought him to the attention of director Norman Taurog who met and interviewed the boy. Equally impressed, he signed George on for a role in Grant's film Room for One More (1952). The success of this movie led to Warner Bros. putting the boy under contract. Two years later Twentieth Century-Fox bought out his contract. Earning the nickname of "Foghorn,", George made a strong impression in My Pal Gus (1952), which won him a Critic's Award, and reappeared with Cary Grant again in Monkey Business (1952) which co-starred Ginger Rogers and a rising Marilyn Monroe. He showed up again with Monroe in what would be his most famous role. In the classic Gentlemen Prefer Blondes (1953), George predictably stole his scenes as Monroe's wealthy young admirer and interested suitor, topped by a classic blue-ribbon line about her possessing a "certain animal magnetism."
Other than trading barbs with the acerbic Clifton Webb in the film comedy Mister Scoutmaster (1953), however, the boy's later films paled in comparison. His work in The Rocket Man (1954), Artists and Models (1955), An Affair to Remember (1957), Rock, Pretty Baby! (1956) and Wild Heritage (1958) only proved that the gimmick was beginning to wear thin. In all George made eleven pictures. He also popped up on TV comedy, appearing in episodes of The Adventures of Ozzie and Harriet (1952), Blondie (1957), and Dear Phoebe (1954).
With age came a certain awkwardness and a sign of the times. As happens to many child actors, George was not able to transition his lovable persona into an adult career -- not even close. By the age of 12, he had not only lost his appeal and naturalness before the camera, but his trademark basso profundo voice. He officially retired from show business before reaching his teens, completely shunning the spotlight in later years.
George reverted to his real name of Wentzlaff. After enlisting for four years in the Navy, George took a course in photography upon his discharge and developed a strong interest in making it his profession. He also worked for the Sonoma County Council on Aging in California. He retired as a postal worker and settled in Camp Meeker, California. Unmarried, he died of a heart attack at age 69 on June 13, 2015.- Actor
- Stunts
- Additional Crew
Cowboy actor Buddy Roosevelt was born Kenneth Stanhope Sanderson in Meeker, Colorado, in 1898. His parents were emigrants from England, and at age 16 Kenneth got a job with the C.B. Irwin WIld West Show. When the show traveled to Southern California in 1914, the young Sanderson learned that stunt work in the burgeoning film industry paid much better, and was quite a bit safer, than busting broncs and the kind of roping, trick riding and other hard and dangerous tasks required of a Wild West show performer, and he soon got a job doing stunts in westerns for pioneering producer Thomas H. Ince at his Inceville studio, and often performed as a stunt double for William S. Hart. When the US entered World War I in 1917 Roosevelt enlisted in the Navy and was aboard the USS Norfolk when it was sunk. As if that wasn't enough, he contracted the Spanish flu during the 1918 influenza pandemic that killed millions worldwide, but he managed to survive both the sinking and the flu and returned to Hollywood at war's end.
Going back to stunt work, he was the stunt double for matinee idol Rudolph Valentino in The Sheik (1921), the picture that made Valentino a star. After more stunt work and small parts in a few films, Sanderson was hired by shoestring producer Lester F. Scott Jr. to star in a series of low-budget westerns. Scott didn't think that "Kenneth Sanderson" was enough of a cowboy name so he changed it to Buddy Roosevelt. The newly renamed cowboy actor made Rough Ridin' (1924) for Scott, the first of 25 that Roosevelt would make for him. Budgets for these pictures were usually less than $25,000--a paltry sum even for the early 1920s--but Scott had the sense to hire veteran supporting characters and efficient directors like a young Richard Thorpe (later to become a mainstay at prestigious MGM) and the pictures proved popular and made money. Unfortunately for Roosevelt, however, Scott signed two more cowboy actors, Jay Wilsey and Hal Taliaferro, which meant that the low budgets on Roosevelt's films got even lower.
In 1928 Roosevelt left Scott for another "B" outfit, Rayart Pictures, but the films he made for that company weren't much of an improvement over his Scott opuses (and in many cases were even worse). After a half-dozen of Rayart's "extravaganzas", Roosevelt managed to get a good role in a big picture for a major studio--The Cisco Kid in In Old Arizona (1928) for Fox. As luck would have it, though, Roosevelt broke his leg shortly before filming was to start. He was replaced by Warner Baxter, who went on to win an Academy Award for the part, which started him on a long and distinguished career. Buddy, on the other hand, went back to making "B" (and even lower-grade) horse operas. He signed with cheapjack producer/director Jack Irwin for a trio of oaters that were barely released. Irwin ran out of money on the third of this trio, "Valley of Bad Men"--which was apparently NEVER released--and Roosevelt was once again out of a job. He did some stunt work and got some small parts in small films, and eventually signed with low-rent specialist Victor Adamson (aka Denver Dixon) for a series of extremely low-budget westerns for Adamson's Superior Talking Pictures outfit. Supposedly shot in only a few days on budgets that were so low that Superior could only afford to pay Roosevelt $250 for each one, these films have gained a reputation for incoherence, ineptness and cheapness that few others have achieved, even to this day.
These pictures finished Buddy Roosevelt's career as a "star", but he still remained active in the business, doing stunt work and appearing in small parts and bit roles until he retired after making his last film, The Man Who Shot Liberty Valance (1962), in 1962. He died in his home town of Meeker, Colorado, on October 6, 1973.