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- Actor
- Soundtrack
In many ways the most successful and familiar character actor of American sound films and the only actor to date to win three Oscars for Best Supporting Actor, Walter Brennan attended college in Cambridge, Massachusetts, studying engineering. While in school he became interested in acting and performed in school plays. He worked some in vaudeville and also in various jobs such as clerking in a bank and as a lumberjack. He toured in small musical comedy companies before entering the military in 1917. After his war service he went to Guatemala and raised pineapples, then migrated to Los Angeles, where he speculated in real estate. A few jobs as a film extra came his way beginning in 1923, then some work as a stuntman. He eventually achieved speaking roles, going from bit parts to substantial supporting parts in scores of features and short subjects between 1927 and 1938. In 1936 his role in Come and Get It (1936) won him the very first Best Supporting Actor Academy Award. He would win it twice more in the decade, and be nominated for a fourth. His range was enormous. He could play sophisticated businessmen, con artists, local yokels, cowhands and military officers with apparent equal ease. An accident in 1932 cost him most of his teeth, and he most often was seen in eccentric rural parts, often playing characters much older than his actual age. His career never really declined, and in the 1950s he became an even more endearing and familiar figure in several television series, most famously The Real McCoys (1957). He died in 1974 of emphysema, a beloved figure in movies and TV, the target of countless comic impressionists, and one of the best and most prolific actors of his time.- Director
- Producer
- Actor
John Ford came to Hollywood following one of his brothers, an actor. Asked what brought him to Hollywood, he replied "the train". He became one of the most respected directors in the business, in spite of being known for his westerns, which were not considered "serious" film. He won six Oscars, counting (he always did) the two that he won for his WWII documentary work. He had one wife; a son and daughter; and a grandson, Dan Ford who wrote a biography on his famous grandfather.- Actor
- Soundtrack
One of the most familiar faces and voices in Hollywood films of the 1950s. Percy Helton acted almost from infancy, appearing in his father's vaudeville act. The famed Broadway producer David Belasco cast Helton in a succession of child roles over several years, giving the boy an invaluable grounding in the technique and spirit of the theatre. George M. Cohan took Helton under his wing and used him in a number of plays.
Helton served in the United States Army in Europe during World War I in the American Expeditionary Forces, with the 305th Field Artillery, and at war's end returned to acting on the stage, carving out a substantial career as a juvenile in plays such as "One Sunday Afternoon" and "Young America". In one of these plays he was required to shout and scream for much of the performance, and by the end of the run his voice had become permanently hoarse. He moved by necessity into character roles, working primarily on the stage until the late 1940s. Despite some early work as a juvenile in silent films, it was not until his brief but memorable appearance as a drunken Santa Claus in Miracle on 34th Street (1947) that he began to shift primarily into film work. His diminutive physique and unmistakable voice made him a fixture in a wide range of films and TV programs throughout the next two decades.- Actor
- Soundtrack
One of those familiar character actors who seems to have been born old, Will Wright specialized in playing crusty old codgers, rich skinflints,crooked small-town politicians and the like. A former newspaper reporter in San Francisco, he switched careers and entered vaudeville, then took to the stage. He ventured from acting to producing, and staged shows on Broadway as well as other cities, eventually making his way to Hollywood. He appeared in over 100 films and did much TV work, including a recurring role on The Andy Griffith Show (1960). Although his hunched-over figure, craggy face and somewhat sour disposition made it seem like he started out his 20+-year career as an old man, he was actually only 68 when he died of cancer in Hollywood in 1962.- Actor
- Producer
- Soundtrack
The son of a saloon keeper, Jack Benny (born Benny Kubelsky) began to study the violin at the age six, and his "ineptness" at it, would later become his trademark (in reality, he was a very accomplished player). When given the opportunity to play in live theatre professionally, Benny quit school and joined vaudeville. In the same theatre that Benny was working with were the very young The Marx Brothers. Their mother, Minnie Marx, wanted Benny to go on the road with them. However, this plan was foiled by his parents who would not let their 17-year-old son on the road.
Having a successful vaudeville career, Benny also had a greater career on radio for "The Jack Benny Program". The show was one of the few successful radio programs that also became a successful television show.
Benny also starred in several movies, including The Hollywood Revue of 1929 (1929), Broadway Melody of 1936 (1935), The Horn Blows at Midnight (1945) and George Washington Slept Here (1942), although he had much greater success on radio and on TV than he did on the big screen.
He was good friends with Fred Allen, with whom he had a long-standing comic "feud".- Actor
- Director
- Producer
Frank Borzage was born on 23 April 1894 in Salt Lake City, Utah, USA. He was an actor and director, known for Bad Girl (1931), 7th Heaven (1927) and No Greater Glory (1934). He was married to Juanita Scott, Edna Skelton and Rena Rogers. He died on 19 June 1962 in Hollywood, Los Angeles, California, USA.- Actress
- Soundtrack
Classic comedienne Zasu Pitts, of the timid, forlorn blue eyes and trademark woebegone vocal pattern and fidgety hands, was born to Rulandus and Nellie (Shay) Pitts, the third of four children on January 3, 1894. Her aged New York-native father, who lost a leg back in the Civil War era, had settled the family in Kansas by the time ZaSu was born but relocated to Santa Cruz, California, when she was 9, seeking a warmer climate and better job opportunities. She attended Santa Cruz High and somehow rose above her excessively shy demeanor to join the school's drama department. She went on to cultivate what was once deemed her negative qualities by making a career out of her unglamorous looks and wallflower tendencies in scores and scores of screwball comedy treasures.
Pitts made her stage debut in 1915 and was discovered two years later by pioneer screenwriter Frances Marion, who got her work, though in small, obscure parts, in vehicles for such Paramount stars as Douglas Fairbanks and Mary Pickford. Mary cast her in another of her films to greater effect and the rest is history. She grew in popularity following a series of Universal one-reeler comedies and earned her first feature-length lead in King Vidor's Better Times (1919). She met and married matinée idol Tom Gallery in 1920 and paired up with him in several films, including Bright Eyes (1921), Heart of Twenty (1920), Patsy (1921), and A Daughter of Luxury (1922).
Their daughter Ann was born in 1922. In 1924 the actress, now a reputable comedy farceur, was given the greatest tragic role of her career in Erich von Stroheim's epic classic Greed (1924), an over-four-hour picture cut down by the studio to less than two. The surprise casting initially shocked Hollywood but showed that she could draw tears and pathos as well as laughs with her patented doleful demeanor. The movie has grown tremendously in reputation over time, although it failed initially at the box office due to its extensive cutting.
Trading off between comedy shorts and features, she earned additional kudos in such heavy dramas as Sins of the Fathers (1928), The Wedding March (1928), also helmed by Von Stroheim, and War Nurse (1930). Still, by the advent of sound, which was an easy transition for Pitts, she was fully secured in comedy. One bitter and huge disappointment for her was when she was replaced in the war classic All Quiet on the Western Front (1930) by Beryl Mercer after her initial appearance drew unintentional laughs from preview audiences. She decided, however, to make the most of a not-so-bad situation. She had them rolling in the aisles in such wonderful and wacky entertainment as The Dummy (1929), Finn and Hattie (1931), The Guardsman (1931), Blondie of the Follies (1932), Sing and Like It (1934), and Ruggles of Red Gap (1935). She also excelled deliciously in her comedy partnerships with stunning blonde comedienne Thelma Todd (in short films) and gangly comedian Slim Summerville (in features).
Breezing through the 1940s in assorted films, she found work in vaudeville and on radio as well, trading quivery banter with Bing Crosby, Al Jolson, and Rudy Vallee, among others. She also tackled Broadway, making her debut in the mystery "Ramshackle Inn" in 1944. The play, which was written especially for her, fared quite well and, as a result, took the show on the road frequently in later years. Postwar films continued to give Pitts the chance to play comic snoops and flighty relatives in such quality fare as Life with Father (1947), but into the 1950s she started focusing on TV. This culminated in her best known series role, playing second banana to cruise line social director Gale Storm in The Gale Storm Show: Oh! Susanna (1956) [aka "Oh, Susannah"]. As Nugie, the shipboard beautician and partner-in-crime, she made the most of her timid, twitchy mannerisms.
Sadly, ill health dominated Pitts' later years when she was diagnosed with cancer in the mid-1950s. She bravely carried on, continuing to work until the very end, making brief appearances in The Thrill of It All (1963) and the all-star comedy epic It's a Mad Mad Mad Mad World (1963). Having married a second time after her divorce from Gallery, the beloved sad sack comedienne passed away at age 69 on June 6, 1963, leaving behind a gallery of scene-stealing worrywarts for all to enjoy.- Actor
- Soundtrack
Warren William, the stalwart leading man of pre-Production Code talkies, was born Warren William Krech on December 2, 1894 in Aitkin, Minnesota, the son of a newspaper publisher. William originally planned to become a journalist, but he had a change of heart, and instead went to the American Academy of Dramatic Arts and trained to become an actor. He served in the military in France during World War I, remaining in that country after the Armistice to tour with a theatrical company.
He made his Broadway debut as William Warren in the H.G. Wells play "The Wonderful Visit" in 1924. While appearing in 17 more plays on Broadway from 1924 to 1930, he also managed to appear in three silent pictures under his own name, Warren Krech. His only substantial role was in his first flicker, Fox's The Town That Forgot God (1922). In 1923, he played a credited bit part in support of "Perils of Pauline" star Pearl White in her last serial photoplay, Plunder (1923) but he went uncredited in a bit part in the Roaring Twenties/John Gilbert-as-bootlegger movie, Twelve Miles Out (1927).
Possessed of a first-rate speaking voice, rich, deep, and mellifluous, he was a natural for the talkies, and in 1931, he joined the stock company at Warner Bros., the studio that gave the world cinema sound. Projecting a patrician persona, Warren William initially thrived in the all-talking pictures. He appeared in a lead role in his first talkie, Honor of the Family (1931), an adaptation Honoré de Balzac's novel "Cousin Pons." Subsequently, he appeared as second leads and leads in support of the likes of Dolores Costello (Drew Barrymore's grandmother), H.B. Warner, Walter Huston, and Marian Marsh, before headlining The Mouthpiece (1932) as a district attorney who quits for the other side of the law, defending mobsters before a last reel conversion. It was his break-through role, followed up by a turn as a crooked campaign manager with more than just the affairs of state on his mind in The Dark Horse (1932). He then moved on to leading roles in A-list pictures, including the high-suds soap opera Three on a Match (1932), the classic musical Gold Diggers of 1933 (1933), Frank Capra's Lady for a Day (1933), and the original Imitation of Life (1934) starring Claudette Colbert and Louise Beavers.
William's outstanding performances in these roles include Skyscraper Souls (1932), The Match King (1932), and Employees' Entrance (1933). He also broadened his range to play the fraudulent clairvoyant in The Mind Reader (1933).
The early 30s was the apogee of William's career. He appeared opposite strong female stars, including Barbara Stanwyck, Claudette Colbert, Bette Davis, Ann Dvorak and Loretta Young.
With his patrician looks and bearing, William was loaned out to Cecil B. DeMille to play the patrician's patrician, Julius Caesar, again opposite of Ms. Colbert in Cleopatra (1934), a typical prodigal DeMille production in which Henry Wilcoxon avenged his mentor's assassination by rousing the rabble. William went on as the second Sam Spade (renamed Ted Shayne) in the "Maltese Falcon" remake Satan Met a Lady (1936) with Bette Davis. He eventually found himself in B-films. The same year he played Caesar, he made his inaugural and terminal appearance as William Powell's premier replacement in the role of Philo Vance in The Dragon Murder Case (1934), a character he would resurrect five years later in The Gracie Allen Murder Case (1939).
After making his first appearance as the cinema sleuth Vance, William returned to his roots as a court-room advocate, cast as the first Perry Mason in The Case of the Howling Dog (1934). After four films, he was replaced as Erle Stanley Gardner's A-#1 attorney in 1936 by former silent screen heart-throb Ricardo Cortez, the man who had first played Sam Spade, in the original The Maltese Falcon (1931). Before leaving the studio, William appeared in one more picture under contract at Warners Bros., the A-list Stage Struck (1936); then the erstwhile Warners trouper trooped over to Metro-Goldwyn-Mayer for a few years, to work as a character actor.
Another movie series beckoned and William appeared as Michael Lanyard's "The Lone Wolf," in nine movies made by Columbia from 1939 to 1943 beginning with The Lone Wolf Spy Hunt (1939). Of the ten actors who appeared as "The Lone Wolf" in the 30 years the series ran, off and on, from 1919 until 1949, he made twice as many films as his nearest competitor (which included such top stars as Thomas Meighan and Melvyn Douglas). William continued to act in character parts calling for a patrician presence until his premature death in 1948.
Personally, Warren William was a shy and retiring type. Speaking of him, five-time Warners co-star Joan Blondell said that William "was an old man even when he was a young man." According to San Francisco critic Mick LaSalle's 2002 book "Dangerous Men: Pre-Code Hollywood and the Birth of the Modern Man" (New York: St. Martin's Press, 2002), William, who quite unlike his early Warner Bros.' stereotype as a heartless "love 'em and leave 'em"-style seducer, remained married to one woman throughout his adult life. He was an active inventor with multiple patents, designing one of the first recreational vehicles, reportedly so he could continue to sleep while being driven to the studio in the morning.
Warren William died in Hollywood on September 24, 1948, of multiple myeloma.- "Doc T". as he was known, was a Ph.D., and Professor of Theatre at Michigan State University in the early 1940s, just before World War II. He often spoke about leaving academia and actually trying his hand at the craft he taught. After the war, he got his chance and never looked back.
- Writer
- Director
- Actor
Son of the famous Impressionist painter Pierre Auguste, he had a happy childhood. Pierre Renoir was his brother, and Claude Renoir was his nephew. After the end of World War I, where he won the Croix de Guerre, he moved from scriptwriting to filmmaking. He married Catherine Hessling, for whom he began to make movies; he wanted to make a star of her. They separated in 1930, although he remained married to her until 1943. His next partner was Marguerite Renoir, whom he never married, although she took his name. He left France in 1941 during the German invasion of France during World War II and became a naturalized US citizen.- One of Hollywood's greatest screen villains, Charles Henry Pywell Daniell was born in London, England, the son of Elinor Mary (Wookey) and Henry Pyweh Daniell, L.R.C.P. He had the profound misfortune to make his professional theatrical debut on the eve of World War I. His life thus interrupted, he served in the trenches on the Western Front with the 2nd Battalion of the British Army's Norfolk Regiment. Wounded in action, he was invalided out of service in 1915 and spent much of the next few years on the West End stage without rising to particular prominence. In 1921, he made his way to the U.S. and worked hard to establish himself as a character player on Broadway, beginning with his role as Prince Charles de Vaucluse in "Claire de Lune". He enjoyed critical acclaim in only his third performance on the 'Great White Way', co-starring with Ethel Barrymore in "The Second Mrs. Tanqueray" (1924). For the remainder of the decade, Daniell alternated touring on both sides of the Atlantic, before making his first appearance on screen in 1929. Daniell's lean physique, sardonic, almost reptilian features, cold voice and incisive manner made him ideally cast as icy, austere aristocrats or as insidious, manipulating evil masterminds in period drama.
His most famous role was as the duplicitous Lord Wolfingham in The Sea Hawk (1940), though Daniell's inexperience as a swordsman compelled Warner Brothers to use a stuntman for the climactic fight scene with Errol Flynn. The previous year, Daniell had essayed the conspiratorial Sir Robert Cecil, spy master to Elizabeth I, with equal verve in The Private Lives of Elizabeth and Essex (1939). Under contract to MGM (1936-37), he also excelled as the erstwhile mentor of Greta Garbo's Camille (1936), the Baron de Varville. Their vitriolic exchanges are a highlight of the film and belie the fact that Daniell was fretfully nervous acting opposite Garbo. His other, invariably unsympathetic, portrayals include the scheming La Motte in Marie Antoinette (1938), the hypocritical clergyman Henry Brocklehurst in Jane Eyre (1943) and the gleefully villainous Regent in The Bandit of Sherwood Forest (1946). By the 1940's, Daniell popped up more and more in lower budget productions, yet managed to deliver two of his finest performances to date: the first, as Professor Moriarty, arch nemesis of Sherlock Holmes (played by his real-life friend Basil Rathbone) in The Woman in Green (1945); the second, as Dr. Wolfe MacFarlane, a 19th century Edinburgh surgeon employing the grave-robbing services of Boris Karloff in The Body Snatcher (1945), a Faustian parable in which any semblance of morality and virtue is sacrificed to the pursuit of scientific knowledge. In the end, Gray (Karloff), the instrument of MacFarlane's machinations becomes "a canker in his body", but even his killing cannot assuage the surgeon's guilty conscience and he is eventually hounded to death by visions of the latter's corpse. This was a rare leading role for Daniell whose scenes with Karloff are among the most chilling of any in this genre. For a change of pace -- or, perhaps, to change his image -- Daniell did the occasional comedic turn, most notably in Charles Chaplin's Third Reich parody The Great Dictator (1940), as 'Garbitsch', a none too thinly disguised caricature of Joseph Goebbels.
On stage, he enjoyed his most successful run (344 performances) as the avaricious Henri Trochard in "My 3 Angels" at the Morosco Theatre in 1953. The play was filmed two years later as We're No Angels (1955), with, who else, but Basil Rathbone, in the part.
Daniell died after being stricken with a heart attack at his home, a few hours after filming a scene for his final film, My Fair Lady (1964). - Director
- Writer
- Producer
King Vidor was an American film director, film producer, and screenwriter of Hungarian descent. He was born in Galveston, Texas to lumberman Charles Shelton Vidor and his wife Kate Wallis. King's paternal grandfather Károly (Charles) Vidor had fled Hungary as a refugee following the failed Hungarian Revolution of 1848 (1849-1849). The Kingdom of Hungary had attempted to gain independence from the Austrian Empire, but the revolutionary troops failed against the allied armies of the Austrian Empire and the Russian Empire. After the restoration of Habsburg power, Hungary was placed under brutal martial law. Karoly fled the country and settled in Galveston, Texas by the early 1850s.
During his childhood, King Vidor was a witness of the 1900 Galveston hurricane, the deadliest natural disaster in United States history. The hurricane caused between 6,000 and 12,000 fatalities in the United States, based on varying estimates. Most of these deaths occurred in the vicinity of Galveston. Every house in the city sustained damage, about 3600 houses were completely destroyed, and an estimated 10,000 people were left homeless, out of a population of about 38,000. King Vidor would later give a somewhat fictionalized account of his hurricane experience in a 1935 interview.
By the early 1910s, Vidor was working as a freelance newsreel cameraman and cinema projectionist. In 1913, he directed the short film "The Grand Military Parade", his directing debut. In 1915, Vidor moved to Hollywood, California and was hired as a screenwriter and short-film director by Judge Willis Brown (1881-1931), owner of the Boy City Film Company in Culver City. Brown had gained fame as a judge of the Utah Juvenile Court and a progressive expert on boys' reformation, but had been kicked out of service when it was discovered that he did not actually have a law degree. Brown had established himself as a film producer in order to produce films depicting his main concerns about American society: juvenile delinquency and racial discrimination. Vidor served as a screenwriter and director of at least 10 films with these topics, while working for Brown.
In 1919, Vidor directed his first feature film: "The Turn in the Road". It was a silent drama film, depicting a businessman who loses his faith in God and any interest in industry, when his beloved wife dies in childbirth. Vidor's first major hit was the feature "Peg o' My Heart" (1922), an adaptation of a popular Broadway theatrical play. Following this success, Vidor was signed to a long-term contract for the studio Goldwyn Pictures. The studio was under the administration of Polish-American producer Samuel Goldwyn (1879-1974). In 1924, Goldwyn Pictures merged with Metro Pictures and Louis B. Mayer Pictures into a new company: Metro-Goldwyn-Mayer. Vidor remained on contract with this new company.
In the 1920s, Vidor's most famous silent feature films were the war film "The Big Parade" (1925), the Academy-Award nominated drama "The Crowd" (1928), the comedy "Show People"" (1928), and the comedy-drama "The Patsy" (1928). His first sound film was the drama "Hallelujah" (1929), about the life of sharecroppers. It was one of the first Hollywood films with a cast consisting fully of African-Americans. Vidor expressed an interest in "showing the Southern Negro as he is" and attempted to depict African-American life beyond the popular stereotypes of the era.
Vidor faced no problem in transitioning from silent film to sound film, and continued regularly working on feature films until the late 1950s. His last major film was the Biblical-romance "Solomon and Sheba" (1959), featuring love, court intrigues, and military invasions during the reign of legendary Solomon, King of Israel (estimated to the 10th century BC). Afterwards he worked on short films and documentaries, his last film being the documentary "The Metaphor" (1980). The 86-year-old Vidor chose to retire from filmmaking in 1980.
In 1982, Vidor died at his ranch in Paso Robles, California, from an unspecified heart disease. He was 88-years-old and well past his prime. His remains were cremated and his ashes were scattered in his ranch.
Vidor was nominated 5 times for the Academy Award for Best Director, without ever winning. He was nominated for the feature films "The Crowd" (1928), "Hallelujah" (1929), "The Champ" (1931), "The Citadel" (1938), and "War and Peace" (1956). He won an Academy Honorary Award in 1979. Part of his modern fame rests on an uncredited part as an assistant director. Vidor directed the scenes set in Kansas for the novel adaptation "The Wizard of Oz" (1939).- Was an only child, Rondo Hatton was born to Stewart and Emily Hatton in Hagerstown, Maryland. The family moved to Tampa, Florida, in 1912, when he was a high-school senior, and his father joined a family-owned business there. Rondo was apparently popular and a good athlete, especially in football.
After leaving high school, Rondo joined the Florida National Guard to pursue a military career. Rondo first saw battle in the Mexican border war and then in France in World War I. There, he was exposed to poison gas, was hospitalized with lung injury, and was subsequently medically discharged from service and consigned to a pension.
Returning to Tampa, he took employment as a reporter for the Tampa Tribune, where he worked until 1936 when he moved to Hollywood.
Sometime after his exposure to the poison gas, Rondo began to develop acromegaly, a slowly progressive medical condition, which brings after a person has matured physically, and reached their adult height.
Acromegaly (a disorder of the pituitary gland) causes deformation of bones in the head, hands and feet, and internal and external soft tissues. The body resumes production of growth hormone, but as the bone structure can no longer continue symmetric growth (as in giantism). According to all available sources, Rondo's acromegaly was a result of the poison gas he'd been exposed to, though it is almost always caused by a tumor on the pituitary.
In any event, Rondo's increasing disfigurement is thought to have led to his first divorce and certainly was responsible for his being noticed by director Henry King. who was shooting a movie, Hell Harbor (1930), near Tampa. Reporter Hatton was covering the filming, and King offered him a role.
Hatton continued his work as a reporter, until after his second marriage in 1934; in 1936, he and his new, more faithful wife moved to Hollywood. Thereafter, Hatton appears to have subsisted primarily on bit parts or extra roles, with an occasional role substantial enough to earn him cast acknowledgment, until being cast for the role of the "Hoxton Creeper" in Universal's The Pearl of Death (1944). Universal thereafter attempted to promote Hatton to horror film stardom because of his acromegalic appearance, including a burgeoning series about a spine-breaking maniac called "The Creeper."
Around Christmas, 1945, Rondo suffered a mild heart attack. (weakness, along with diabetes and blindness being common complications of acromegaly) and, seemingly recovered. But approximately one month later, Rondo suffered a major heart attack, which proved fatal.
Rondo's body was returned to Tampa for burial. In 1988, filmmaker Fred Olen Ray extensively researched Hatton's life, producing the sensitive article "Rondo Hatton: Monster Man" (referenced below), giving this man the graceful memorial he deserved. - Actor
- Soundtrack
Born Arthur Veary Treacher in Brighton, East Sussex, England, he was the son of a lawyer. He established a stage career after returning from World War I, and by 1928, he had come to America as part of a musical-comedy revue called Great Temptations. When his film career began in the early 1930s, Treacher was Hollywood's idea of the perfect butler, and he headlined as the famous butler Jeeves in Thank You, Jeeves! (1936) and Step Lively, Jeeves! (1937)--based on the P.G. Wodehouse character. He played a butler in numerous other films including: Personal Maid's Secret (1935), Mister Cinderella (1936), Bordertown (1935), and Curly Top (1935). By the mid 1960s, Treacher was a regular guest on The Merv Griffin Show (1962). The image of the proper Englishman served him well, and during his later years, he lent his name to a fast-food chain known as Arthur Treacher's Fish and Chips.- Actress
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A schoolteacher who became a stage actress (briefly), Lois Wilson entered films in 1916 at Paramount (her sisters, Diana Kane and Connie Lewis, also worked as actresses). Wilson played leading roles well into the sound era, and after she retired from the screen she worked sporadically in television and again appeared on stage.- Mae Marsh's father was an auditor for the railroad who died when she was four. Her family moved to San Francisco, where her stepfather was killed in the 1906 earthquake. Her great-aunt then took Mae and her sister to Los Angeles. With her show business background, Mae's aunt took them to the various movie studios for work as extras. Mae was a little freckle-faced girl, who came to work one day as an extra at Biograph to substitute for her sick sister. She had blue eyes and her hair color was indeterminate, but she had definite screen presence. She began her film career working for Mack Sennett and D.W. Griffith. Her first leading role was as the bare-legged prehistoric girl in Man's Genesis (1912). By 1913 Mae was being groomed as the successor to Mary Pickford. Most of her film roles were dramatic or tragic, or a combination of both. She appeared in Griffith's The Birth of a Nation (1915) and Intolerance (1916). After that film, Samuel Goldwyn signed her to a contract at $2500 per week - far exceeding the $35 per week she got in 1915. Goldwyn was at his best when it came to publicity. It was he who gave Mae the title "The Whim Girl". Other than the publicity, her film career with Goldwyn was a disappointment and she retired on the eve of her marriage in 1918. During the 1920s Mae did a few movies in Hollywood and England, but stayed retired for the most part. It was not until the Wall Street "crash" in 1929 that began the Great Depression that she returned full-time to the screen, as she, like many others, was wiped out financially. After her financial situation improved, she returned to films sporadically, usually out of boredom. She worked in a dozen movies during the 1930s and took a number of roles in the 1940s and 1950s. She was a favorite of director John Ford and appeared in many of his films, such as The Grapes of Wrath (1940), How Green Was My Valley (1941), My Darling Clementine (1946) and The Quiet Man (1952), and she had a role in A Star Is Born (1954).
- Dorothy Cumming was born on 12 April 1894 in Boorowa, New South Wales, Australia. She was an actress, known for The Wind (1928), Snow White (1916) and The Woman and the Puppet (1920). She was married to Allan McNab and Frank Elliott Dakin. She died on 10 December 1983 in New York City, New York, USA.
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- Writer
- Second Unit Director or Assistant Director
Josef von Sternberg split his childhood between Vienna and New York City. His father, a former soldier in the Austro-Hungarian army, could not support his family in either city; Sternberg remembered him only as "an enormously strong man who often used his strength on me." Forced by poverty to drop out of high school, von Sternberg worked for a time in a Manhattan store that sold ribbons and lace to hat makers. A chance meeting in Prospect Park, Brooklyn, led to a new career in the cleaning and repair of movie prints. This job provided an entrée to the film production industry, then flourishing in Fort Lee, New Jersey. As an apprentice film-maker, from around 1916 to the early 1920s, von Sternberg developed a lasting contempt for most of the directors and producers he worked for (an exception was Emile Chautard, who acted in some of Sternberg's films of the 1930s), and was sure that he could improve on their products. Staked to a few thousand dollars -- even then an absurdly small budget -- von Sternberg proved himself right with The Salvation Hunters (1925), which became a critical and financial hit. For the next couple of years he seesawed between acclaim and oblivion, sometimes on the same project (for instance, he received the rare honor of directing a film for Charles Chaplin, but it was shelved after only one showing and later disappeared forever). His commercial breakthrough was Underworld (1927), a prototypical Hollywood gangster film; behind the scenes, von Sternberg successfully battled Ben Hecht, the writer, for creative control. With The Last Command (1928), starring the equally strong-willed Emil Jannings, von Sternberg began a period of almost a decade as one of the most celebrated artists of world cinema. Both his film career and his personal life were transformed in the making of The Blue Angel (1930). Chosen by Jannings and producer Erich Pommer to make Germany's first major sound picture, von Sternberg gambled by casting Marlene Dietrich, then obscure, as Lola Lola, the night-club dancer who leads Jannings' character into depravity. The von Sternberg-Dietrich story, both on-screen (he directed her in six more movies) and off (he became one of her legions of lovers, more in love with her than most) is a staple of film histories. His films of the mid-'30s are among the most visionary ever made in Hollywood, but in spite of their visual sumptuousness, contemporary audiences found them dramatically inert. The films' mediocre box office and a falling-out with Ernst Lubitsch, then head of production at Paramount Pictures (Sternberg's employer), meant that after The Devil Is a Woman (1935) he would never again have the control he needed to express himself fully. In his sardonic autobiography, he more or less completely disowned all of his subsequent films. In spite (or perhaps because) of his truncated career and bitter personality, von Sternberg remains a hero to many critics and filmmakers. His best films exemplify the proposition, as he put it, that in any worthwhile film the director is "the determining influence, and the only influence, despotically exercised or not, which accounts for the worth of what is seen on the screen."- A stage actress, Urecal made her screen debut in 1933. For the remainder of her career and two hundred plus movies, she played cleaning women, landladies, shopkeepers and the like. She was known as a Marjorie Main type actress and later went on to a career in television playing in such shows as "Tugboat Annie" and "Peter Gunn." Minerva claimed her name was an anagram of her hometown, Eureka, California.
- Producer
- Music Department
- Actor
Producer, songwriter and author, brother to Ralph Freed, Walter and Ruth Freed. He was educated at the Phillips Exeter Academy, and became associated with Gus Edwards musical acts. He performed in vaudeville with Louis Silvers, with whom he wrote revues for New York restaurants. During World War I, he staged military shows, then managed a theatre, eventually producing his own musical shows, finally joining MGM under contract. His Academy Award winning films include An American in Paris (1951), _Gigi(1958)_ and Irving Thalberg Awards. In 1964, he became President of the Academy of Motion Picture Arts and Sciences. Joining ASCAP in 1924, his chief musical collaborator was Nacio Herb Brown, and also included Gus Arnheim, Al Hoffman and Harry Warren.- Actress
- Writer
Oliva R. Duffy was born on October 20, 1894, in Charleroi, Pennsylvania, the eldest of three children, with two younger brothers. Olive or Ollie, as she was known to family and friends, did not have much of a childhood. Life in industrial Pittsburgh (at the time, spelled "Pittsburg") was depressing and grim with its smoky factories and hard living. She married Bernard Krug Thomas at the age of 16 (which wasn't uncommon at the time), but the marriage wasn't happy, and they divorced two years later.
By that time, Olive had left Pittsburgh for New York, where she found work in a department store. On a lark, she entered a competition for the most beautiful girl in New York City and, unsurprisingly, won. With the ensuing publicity, she caught the eye of Florenz Ziegfeld Jr. and immediately joined his famed Follies. An outstanding addition, men went wild over her beauty. She also posed nude for the famed Peruvian artist Alberto Vargas. As a result of her sudden fame, she was signed to a contract with Triangle Pictures. Her first film was Beatrice Fairfax (1916). Later that year, she married Jack Pickford, brother of screen star Mary Pickford.
The relationship was a stormy one. In 1917, she starred in four more films: Madcap Madge (1917), A Girl Like That (1917), Broadway Arizona (1917), and Indiscreet Corinne (1917). With five films on her resume, Olive was the toast of Hollywood. She made three films in 1918 and six in 1919. By 1920, Olive was at the top of the film world. She continued to make good pictures, most notably, Youthful Folly (1920) and also The Flapper (1920), which was an overwhelming success. After finishing Everybody's Sweetheart (1920), Olive and Jack sailed to France for a much-needed vacation.
The couple finally seemed happy, which seems odd in light of what was to follow. Olive accidentally ingested bichloride of mercury from a French-labeled bottle in a darkened bathroom, believing it to be another medication. Found unconscious, she died five days later. The death made worldwide headlines. Olive was only 25 when she died.- Enid Markey was born on 22 February 1894 in Dillon, Colorado, USA. She was an actress, known for Tarzan of the Apes (1918), The Yankee Way (1917) and Sink or Swim (1920). She was married to George W. Cobb. She died on 15 November 1981 in Bay Shore, Long Island, New York, USA.
- Actor
- Writer
- Director
Billy Bletcher, standing 5' 2", was known as the little guy with the big voice, who, ironically, started his film career during the silent era.
Billy's show business career began in 1913 at the age of 19 in vaudeville, and within a year, he went to work for Vitagraph Studios in Brooklyn where he both acted and directed. Two years later, he met his wife, Arline Harriett Roberts with whom he would stay married until the day he died in 1979.
In 1917, he took his wife westward to Hollywood where he started with smaller production companies, such as the Christie Film Company, writing and acting in shorts, and then moved on to larger and larger companies, such as the Fox Film Corporation where he did a few cowboy movies, one with Tom Mix, playing the comedic element. Then onto larger companies, such as Warner Brothers, RKO, Columbia, and Paramount where he had mostly bit parts, but got experience working with the likes of The Three Stooges and The Marx Brothers. But it was in Mack Sennett's comedy troupe where he started getting recognition doing two-reelers, and his biggest break came when Hal Roach studios pared him with Billy Gilbert and his career took off. Because pictures now had sound, directors and studios everywhere were clamoring for his deep, rich voice.
Mack Sennett and Hal Roach put Bletcher in shorts with W.C. Fields and Laurel and Hardy and he even played Spanky's father in the Little Rascals series, but it was Disney who made Bletcher a star.
Pinto Colvig, the original voice of Goofy and Pluto, told Bletcher that Disney needed a big, blustering voice to "huff and puff and blow your house in," so he tried out, got the job, and within a very short time, Disney had him doing a session a week in the sound booth, sometimes doing two and three voices. His voice got so famous that when he auditioned to do the voice of one of the seven dwarfs in Snow White and the Seven Dwarfs (1937), Walt Disney took him aside and told him, "Billy, your voice is heard so much in all of these singles that I make, I don't think I'd want to use you as one of the Seven Dwarfs." Bletcher admits that because his voice was so low and resonant, the characters he got to play were usually the "heavies" (bad guys). And as a heavy his voice became too recognizable for him to get a role in a feature length Disney production, with one exception: he did get a minor role in Dumbo as the voice of one of the clowns.
As a voice actor, he could go anywhere and soon found himself working for Leon Schlesinger at Warner Brothers, but never got credit for his work since Mel Blanc had it in his contract that he'd be the sole credit for voice characterizations. And at that time there were only a dozen or so actors doing voicework that the jobs were plentiful. He worked for Disney, Warner, and at MGM he did the voice of the Captain in the Captain and the Kids cartoons.
In the fifties, he did several characters on the Lone Ranger radio program, but before that he did what's known in the business as ADR (automated dialogue replacement) work, with his old pal Pinto Colvig. In The Wizard of Oz (1939), their voices were substituted for a few of the munchkins.
All in all, Bletcher worked on just over 450 films spanning nearly 60 years, his last film being a made-for-TV version of Li'l Abner (1971) in which he played Pappy Yokum. He passed away 13 years later at the age of 84.- Director
- Writer
- Actor
Following his service as a naval aviator in WW I, Tay Garnett entered films in 1920 as a screenwriter. After a stint as a gag writer for Mack Sennett and Hal Roach he joined Pathe, then the distributor for both competing comedy producers, and in 1928 began directing for that company. Garnett garnered some attention in the early 1930s with such films as One Way Passage (1932) and Her Man (1930), but his best work came in the mid-'30s and early 1940s with such films as China Seas (1935), Slave Ship (1937) and Seven Sinners (1940). His best known film would have to the John Garfield/Lana Turner vehicle The Postman Always Rings Twice (1946), although his version of A Connecticut Yankee in King Arthur's Court (1949) was a well-deserved critical and commercial success as well. Garnett journeyed to England in the early 1950s for several films, but upon his return made only a few pictures before jumping enthusiastically into television. He resurfaced on the big screen in the early 1970s to shoot a pair of minor outdoor epics in Alaska, then retired. He died of leukemia in 1977.- Actor
- Director
- Writer
The son of singers in the Metropolitan Opera, Billy Gilbert began performing in vaudeville at age 12. He developed a drawn-out, explosive sneezing routine that became his trademark (he was the model for, and voice of, Sneezy in Snow White and the Seven Dwarfs (1937)). Gilbert's exquisite comic timing made him the perfect foil for such comedians as Stan Laurel and Oliver Hardy, and he was especially memorable as the dim-witted process server Pettibone in His Girl Friday (1940).- Writer
- Actor
- Producer
Ben Hecht, one of Hollywood's and Broadway's greatest writers, won an Oscar for best original story for Underworld (1927) at the first Academy Awards in 1929 and had a hand in the writing of many classic films. He was nominated five more times for the best writing Oscar, winning (along with writing partner and friend Charles MacArthur, with whom he wrote the classic play "The Front Page") for The Scoundrel (1935) (the other nominations were for Viva Villa! (1934) in 1935, Wuthering Heights (1939) (shared with MacArthur), Angels Over Broadway (1940) and Notorious (1946), the latter two for best original screenplay). Hecht wrote fast and wrote well, and he was called upon by many producers as a highly paid script doctor. He was paid $10,000 by producer David O. Selznick for a fast doctoring of the Gone with the Wind (1939) script, for which he received no credit and for which Sidney Howard won an Oscar, beating out Hecht and MacArthur's Wuthering Heights (1939) script.
Born on February 28, 1894, Hecht made his name as a Chicago newspaperman during the heady days of cutthroat competition among newspapers and journalists. As a reporter for the Chicago Daily News, he wrote the column "1001 Afternoons in Chicago" and broke the "Ragged Stranger Murder Case" story, which led to the conviction and execution of Army war hero Carl Wanderer for the murder of his pregnant wife in 1921. The newspaper business, which he and MacArthur famously parodied in "The Front Page", was a good training ground for a screenwriter, as he had to write vivid prose and had to write quickly.
While in New York in 1926 he received a telegram from friend Herman J. Mankiewicz, who had recently arrived in Hollywood. The telegram read: "Millions are to be grabbed out here and your only competition is idiots. Don't let this get around." Hecht moved to Hollywood, winding up at Paramount, working uncredited on the script for Lewis Milestone's adaptation of Ring Lardner's story The New Klondike (1926), starring silent superstar Thomas Meighan. However, it was his script for Josef von Sternberg's seminal gangster picture Underworld (1927) that got him noticed. From then until the 1960s, he was arguably the most famous, if not the highest paid, screenwriter of his time.
As a playwright, novelist and short-story writer, Hecht always denigrated writing for the movies, but it is for such films as Scarface (1932) and Nothing Sacred (1937) as well The Front Page (1931), based on his play of the same name, for which he is best remembered.
He died on April 18, 1964, in New York City from thrombosis. He was 70 years old.- Actress
- Additional Crew
Virginia-born Mary Duncan went to Hollywood after critics praised her acting in the lead in "The Shanghai Gesture" on Broadway. While making Five and Ten (1931), she became friends with the film's lead, Marion Davies. The two women attended a polo match, where Davies introduced Duncan to Stephen "Laddie" Sanford, an international polo star and director of the Bigelow-Sanford Carpet Company. She and Sanford married in 1933, after which she retired from films and moved with him to Palm Beach, Florida. They also maintained three homes in the New York area.
In retirement, she devoted herself to philanthropic works, doing in major fund-raising for several charities. In addition, the Sanfords were socially very prominent, and for many years the former Mary Duncan reigned as the grande dame of Palm Beach society. A neighbor who became a close friend was Rose Kennedy, mother of President John F. Kennedy. Those whom the Sanfords entertained at their mansion included the King and Queen of Jordan and the Duke and Duchess of Windsor. She continued her charity work until very late in life, and died quietly in her sleep, aged 98.- An American actress most frequently seen in bit parts in comedy shorts, mostly at Columbia Pictures, particularly those of The Three Stooges, Symona Boniface entered the theatre as a playwright and actress, and produced plays as well. After the stock market crash of 1929 she began taking bit parts in films, many of them merely dress-extra jobs. She had a few substantial supporting roles, but most often she was merely a figure in the background. In the 1930s she signed on as a contract player at Columbia, and began appearing in almost all of that studio's comedy shorts. Most frequently she performed as a foil for The Three Stooges, though she also worked with Andy Clyde. Her haughty demeanor made her perfect for the stuffy grande dames whose lives were made miserable by the incursion of idiot Stooges, and she is a memorable, if rarely identified, part of the Stooge comedy legacy. She died at 56 in 1950, though her image continued to show up for years afterwards due to Columbia's habit of using footage from films shot years previously to pad many of its "new" shorts in order to save money.
- Actor
- Additional Crew
Carl Miller was born on 9 August 1894 in Iowa Park, Texas, USA. He was an actor, known for The Kid (1921), The Lover of Camille (1924) and A Woman of Paris: A Drama of Fate (1923). He died on 20 January 1979 in Honolulu, Hawaii, USA.- Actor
- Writer
- Soundtrack
Fred Allen, the well-known comedian who went on to star in radio, television, and film, was born John Florence Sullivan in Cambridge, Massachusetts in 1894 and educated at Boston University. His Broadway shows include "The Passing Show of 1922" and "The Greenwich Village Follies".
He produced, wrote,and starred in a network radio show entitled at various times "Linit Bath Club Revue", Town Hall Tonight", Texaco Star Theater" and finally "The Fred Allen Show" from 1932 to 1949. He was also a semi-regular on the network radio program "The Big Show" from 1950 to 1952. He was a frequent guest on "The Jack Benny Program". Jack and Fred, good friends in real life, had an accidental on air feud that begin in 1936 and lasted off and on until Fred Allen's passing.
On television, he was one of the regular rotating hosts of the Colgate Comedy Hour (1950), but did not renew his initial contract due to health reasons. He also starred on television's "Judge for Yourself" from 1953 to 1954 and was a regular panelist on What's My Line" from 1954 until his death.
He appeared in such films as "Thanks a Million", "Love Thy Neighbor", "Sally, Irene, and Mary", and "It's in the Bag".
He wrote two autobiographies. The first,about his days in radio, published in 1954, entitled "Treadmill to Oblivion". The second, about his days in vaudeville, was published after his death by his wife Portland Hoffa, entitled "Much Ado About Me." (1956). Fred was in the process of completing the final chapter at the time of his death. Also always known as an avid letter writer, a collection of these entitled "Fred Allen's Letters" was published in 1966.- Actress
- Producer
- Soundtrack
Norma Talmadge was born on May 26, 1895, in Jersey City, New Jersey. The daughter of an unemployed alcoholic and his wife, Norma did not have the idyllic childhood that most of us yearn for. Her father left the family on Christmas Day and his wife and three daughters had to fend for themselves. Her mother, Peggy, took in laundry to help make ends meet. By the time Norma was 14 she took up modeling. She was successful enough that she attracted the attention of studio chiefs in New York City (where the Vitagraph studio was located at the time). Norma landed a small role in The Household Pest (1910). With her mother's prodding, she landed other small roles with the studio in 1910, such as Uncle Tom's Cabin (1910), Love of Chrysanthemum (1910), A Dixie Mother (1910) and A Broken Spell (1910). By 1911 she was improving as an actress, so much so that she landed a good part in A Tale of Two Cities (1911). By 1913 she was Vitagraph's most promising young actress. In August of 1915 Norma and her mother left for California and the promise of success in the fledgling film industry there. Her first film in Hollywood was Captivating Mary Carstairs (1915). The film was not only a flop but the studio that made it, National Pictures, went out of business.
During this time her sister, Constance Talmadge, was working for legendary director D.W. Griffith. Constance managed to get Norma a contract with Griffith's company. Over the following eight months Norma made seven feature films and a few shorts. After the contract ran out, the family returned to the East Coast. In 1916 she met and married producer and businessman Joseph M. Schenck. With his backing they formed their own production company and turned out a number of films, the first of which was Panthea (1917). It was a tremendous hit, as was Norma. In 1920 the production company moved to Hollywood, where the big hits of the day were being produced. Her company produced hits such as The Wonderful Thing (1921), The Eternal Flame (1922) and The Song of Love (1923).
By 1928 Norma's popularity had begun to fade. Her film The Woman Disputed (1928) was a flop at the box-office. Her final film was Du Barry, Woman of Passion (1930). By that time "talkies" were all the rage, but Norma's voice did not lend itself to sound and she was out of work. She divorced Schenck and married George Jessel. Jessel had his own radio show and Norma was added to the cast to help its sagging ratings. She thought this might be the vehicle by which she would revive her stalled film career, but the show continued its decline and was ultimately canceled, and with it the hopes of rebuilding her shattered career. She was finished for good.
She divorced Jessel in 1939 and married Dr. Carvel James in 1946. She remained with him until she died of a stroke on Christmas Eve of 1957 in Las Vegas, Nevada. She was 62 and had been in a phenomenal 250+ motion pictures.- Actress
- Soundtrack
Kathleen Lockhart was born on 9 August 1894 in Southsea, Hampshire, England, UK. She was an actress, known for Sweethearts (1938), Roughly Speaking (1945) and Penrod's Double Trouble (1938). She was married to Gene Lockhart and Arthur Emil Semple. She died on 17 February 1978 in Los Angeles, California, USA.- Director
- Actor
- Writer
David Butler was born on 17 December 1894 in San Francisco, California, USA. He was a director and actor, known for You'll Find Out (1940), Look for the Silver Lining (1949) and If I Had My Way (1940). He was married to Elshie H Schulte. He died on 14 June 1979 in Arcadia, California, USA.- Writer
- Actor
Dashiell Hammett was born May 27, 1894, in St. Mary's County, Maryland, to Richard Hammett and Mary Bond. He joined the Baltimore branch of the Pinkerton Detective Agency in 1915. He enlisted in the US Army's Ambulance Corps in June 1918 and was posted to a camp 20 miles from Baltimore, where he caught the flu, which developed into tuberculosis. He was invalided out of the army in July 1919 and returned to Pinkerton's. Hammett entered the veterans hospital near Tacoma, Washington, with tuberculosis in 1920. Upon his release he worked at Pinkerton's Spokane branch. Hospitalized again with tuberculosis, he met and courted a nurse, Josephine Dolan. In February 1921 he was moved to an army hospital near San Diego. After he was released he married a now-pregnant Josie in San Francisco. Hammett worked for the San Francisco branch of Pinkerton's, but left the agency in 1921 or 22 due to ill health. He took a writing course and sold droll vignettes to "The Smart Set" magazine during 1922, and some short stories to other magazines. He began to sell detective stories to "The Black Mask" from 1923. After the birth of the couple's second daughter in 1926, Hammett gave up freelance writing and became an advertising copy writer for the jeweler Albert Samuels, but left after six months due to ill health. Forced by his tuberculosis to live apart from Jose and the children, the marriage eventually broke up. Hammett supported himself through writing, chiefly for "The Black Mask", now under editor Joe Shaw. Hammett's long short stories were republished in novel form by Alfred Knopf. In 1929 Hammett moved to New York. After the success of his novel "The Maltese Falcon", he was engaged as a screenwriter by Paramount Pictures and moved to Hollywood, where he met Lillian Hellman. He returned to New York in 1931, where he wrote "The Glass Key". "The Thin Man" was published as a magazine serial in 1933. Hammett was encouraged by Hearst to write the "Secret Agent X9" comic strip, which ran from 1934-35, his last original work. In 1942 he re-enlisted in the army and was posted to the Aleutian Islands off of Alaska, where he edited The Adakian. When discharged in 1945, he returned to New York and became President of the NY Civil Rights Congress. In July 1951 Hammett was subpoenaed to testify on the Civil Rights Congress' bail fund, and was jailed for refusing to answer questions. Upon his release from jail, he was presented with a bill by the Internal Revenue Service for $111,000 in back taxes. In failing health, he lived off and on with Hellman. In 1961 he was admitted to New York's Lenox Hill Hospital, New York, where he died on January 10.- Music Department
- Composer
- Producer
Dimitri Tiomkin was a Russian Jewish composer who emigrated to America and became one of the most distinguished and best-loved music writers of Hollywood. He won a hallowed place in the pantheon of the most successful and productive composers in American film history, earning himself four Oscars and sixteen Academy Awards nominations. He was born Dimitri Zinovievich Tiomkin on May 10, 1894, in Kremenchug, Russia. His mother, Marie (nee Tartakovsky), was a Russian pianist and teacher. His father, Zinovi Tiomkin, was a renowned medical doctor. His uncle, rabbi Vladimir Tiomkin, was the first President of the World Zionist Union. Young Dimitri began his music studies under the tutelage of his mother. Then, at the St. Petersburg Conservatory, he studied piano under Felix Blumenfeld and Isabelle Vengerova. He also studied composition under the conservatory's director, Aleksandr Glazunov, who appreciated Tiomkin's talent and hired him as a piano tutor for his niece. Soon Dimitri appeared on Russian stages as a child pianist prodigy and continued to develop into a virtuoso pianist. Like other intellectuals in St. Petersburg, Tiomkin frequented the club near the Opera, called Stray Dog Café, where Russian celebrities, including directors Vsevolod Meyerhold and Nicolas Evreinoff, writers Boris Pasternak, Aleksei Tolstoy, Sergei Esenin, Anna Akhmatova, Nikolai Gumilev and Vladimir Mayakovsky, had their bohemian hangout. There Tiomlkin could be seen with his two friends, composer Sergei Prokofiev and choreographer Mikhail Fokin. At that time he also gained exposure and a keen interest in American music, including the works of Irving Berlin, ragtime, blues, and early jazz. Tiomkin started his music career as a piano accompanist for Russian and French silent films in movie houses of St. Petersburg. When the famous comedian Max Linder toured in Russia, he hired Tiomkin to play piano improvisations for the Max Linder Show, and their collaboration was successful. He also provided classical piano accompaniment for the famous ballerina Tamara Karsavina. However, the 1917 Communist Revolution in Russia caused dramatic political and economic changes. From 1917 to 1921 Tiomkin was a Red Army staff composer, writing scores for revolutionary mass spectacles at the Palace Square involving 500 musicians and 8000 extras, such as "The Storming of the Winter Palace" staged by Vsevolod Meyerhold and Nikolai Yevreinov for the third anniversary of the Communist Revolution. In 1921 Tiomkin emigrated from Russia and moved to Berlin to join his father, who was working with the famous German biochemist Paul Ehrlich. In Berlin Tiomkin had several study sessions with Ferruccio Busoni and his circle. By 1922 Dimitri was well known for his concert appearances in Germany, often with the Berlin Philharmonic. Among his repertoire were pieces written for him by other composers. He also concertized in France. There, in Paris, Feodor Chaliapin Sr. convinced Tiomkin to emigrate to the United States. In 1925 Tiomkin got his first gig in New York: he became the main pianist for a Broadway dance studio. There he met and soon married the principal dancer/choreographer, Albertina Rasch. He also met composers George Gershwin, Richard Rodgers and Jerome Kern. In 1928 Tiomkin made a concert tour of Europe, introducing the works of Gershwin to audiences there. He gave the French premiere of Gershwin's "Piano Concerto in F" at the famed "L'Opera de Paris." His Hollywood debut came in 1929, when MGM offered him a contract to score music for five films. His wife got a position as an assistant choreographer for some musical films. He also scored a Universal Pictures film, performed concerts in New York City and continued composing ballet music for his wife's dance work. He also continued writing American popular music and songs. He received further Broadway exposure with the Shuberts and Florenz Ziegfeld Jr.. He produced his own play "Keeping Expenses Down," but it was a flop amidst the gloom of the Big Depression, and he once again returned to Hollywood in 1933. When he came back he was on his own. By that time Tiomkin was disillusioned with the intrigue and politics inside the Hollywood studio system. He already knew the true value of his musical talent, and chose to freelance with the studios rather than accepting a multi-picture contract. He became something of a crusader, pushing for better pay and residuals. His independent personality was reflected in his music and business life: he was never under a long-term studio contract. Though MGM was the first to be acquainted with his services, Tiomkin next turned to Paramount for Alice in Wonderland (1933), another fine example of making music that he liked. Hollywood's most prominent independent composer, Tiomkin, thanks to his free-agent status, negotiated contractual terms to his benefit, which in turn benefited other musicians. He aggressively sought music publishing rights and formed his own ASCAP music publishing company, Volta Music Corporation, while remaining faithful to France-based performing rights organization SACEM. In Tiomkin's own words: "My fight is for dignity. Not only for composer, but for all artists responsible for picture." He also fought for employing qualified musicians regardless of their race. As a composer classically trained at the St. Petersburg Conservatory, Tiomkin was highly skilled in orchestral arrangements with complex brass and strings, but he was also thoroughly versed in the musical subtleties of America and integrated it into traditional European forms. His interest in the musical form resulted in his next score, for the operetta Naughty Marietta (1935), a popular musical that teamed Jeanette MacDonald and Nelson Eddy. He also did his fair share of stock music arranging. Among his most successful partnerships was that with director Frank Capra, starting with Lost Horizon (1937), where Tiomkin used many innovative ideas, and received his first Academy Award nomination. The association with Capra lasted through four more famous films, culminating with It's a Wonderful Life (1946). In 1937 Tiomkin became a naturalized American citizen. The next year he made his public conducting debut with the Los Angeles Philharmonic. During the WWII years he wrote music for 12 military documentaries, earning himself a special decoration from the US Department of Defense. After the war he ventured into all styles of music for movies, ranging from mystery and horror to adventure and drama, such as his enchanting score, intricately worked around Claude Debussy's "Girl with the Flaxen Hair," for the haunting Portrait of Jennie (1948) and the energetic martial themes for Cyrano de Bergerac (1950). He scored three films for Alfred Hitchcock, perhaps the most inventive being for the tension-building Strangers on a Train (1951) with its out-of-control carousel finale. He also worked with top directors in that exclusively American genre: the western. His loudest success was the original music for Duel in the Sun (1946) by King Vidor. For that film, Tiomkin wrote a lush orchestral score, trying to fulfill writer/producer David O. Selznick's request to "Make a theme for orgasm!" Tiomkin worked for several weeks, and composed a powerful theme culminating with 40 drummers. Selsnick was impressed, but commented: "This is not orgasm!" Tiomkin worked for one more month and delivered an even more powerful theme culminating with 100 voices. Selznick was impressed again, but commented: "This is not orgasm! This is not the way I f..k!" Tiomkin replied brilliantly, "Mister Selznick, you may f..k the way you want, but this is the way I f..k!" Selznick was convinced, and after that Tiomkin's music was fully accepted. In 1948 he wrote the score for one of the westerns with John Wayne, Red River (1948) by Howard Hawks. Wayne had Tiomkin's touch on five more movies into the 1960s. Tiomkin was adding a song to all of his scores, starting with the obscure Trail to Mexico (1946). The result was successful, and the western score with songs became Tiomkin's signature. Horns and lush string orchestral sound are most associated with Tiomkin's style, which culminated in The Unforgiven (1960) by John Huston, although he used the same approach in High Noon (1952) with the famous song "Do Not Forsake Me, Oh My Darlin'" and Howard Hawks' The Big Sky (1952). Most of his big-screen songs were written for westerns and totaled some 25 themes. The most songs he composed for one movie was six for Friendly Persuasion (1956). Tiomkin achieved dramatic effects by using his signature orchestral arrangements in such famous films as Giant (1956), The Old Man and the Sea (1958) and The Guns of Navarone (1961). He also wrote music and theme songs for several TV series, most notably for Clint Eastwood's Rawhide (1959). In 1967 his beloved wife, Albertina Rasch, passed away, and Tiomkin was emotionally devastated. Going back from his wife's funeral to his Hancock Park home in Los Angeles, he was attacked and beaten by a street gang. The crime caused him more pain, so upon recommendation of his doctor, Tiomkin moved to Europe for the rest of his life. In the 1960s Tiomkin produced Mackenna's Gold (1969) starring Gregory Peck and Omar Sharif. He also executive-produced and orchestrated the US/Russian co-production Tchaikovsky (1970), for which he was nominated for an Academy Award for best music, and the movie was also nominated in the foreign language film category. Filming on locations in Russia allowed him to return to his homeland for the first time since 1921, which also was the last visit to his mother country. In 1972 Tiomkin married Olivia Cynthia Patch, a British aristocrat, and the couple settled in London. They also maintained a second home in Paris. For the rest of his life Tiomkin indulged himself in playing piano, a joy also shared by his wife. He died on November 11, 1979, in London, England, and was laid to rest in Forest Lawn Memorial Cemetery in Glendale, California. In 1999 Dimitri Tiomkin was pictured on one of six 33¢ USA commemorative postage stamps in the Legends of American Music series, honoring Hollywood Composers. His music remains popular, and is continuously used in many new films, such as Inglourious Basterds (2009) by director Quentin Tarantino.- Lewis Martin was born on 1 November 1894 in San Francisco, California, USA. He was an actor, known for The War of the Worlds (1953), Ace in the Hole (1951) and The Court Jester (1955). He died on 21 February 1969 in Los Angeles, California, USA.
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Dubbed "the funniest woman in the world", comedienne Beatrice Lillie was born the daughter of a Canadian government official and grew up in Toronto. She sang in a family trio act with her mother, Lucy, and her piano-playing older sister, Muriel. Times were hard and the ambitious mother eventually took the girls to England to test the waters. In 1914, Bea made her solo debut in London's West End and was an immediate hit with audiences. A valuable marquee player as a droll revue and stage artiste, she skillfully interwove sketches, songs and monologues with parody and witty satire. In 1924, she returned to America and was an instant success on Broadway, thus becoming the toast of two continents. For the next decade, she worked with the top stage headliners of her day, including Gertrude Lawrence, Bert Lahr and Jack Haley. Noël Coward and Cole Porter wrote songs and even shows for her. A top radio and comedy recording artist to boot, Bea's success in films was surprisingly limited, although she did achieve some recognition in such productions as Exit Smiling (1926) and Doctor Rhythm (1938). During the Second World War, Bea became a favourite performer with the troops and, in her post-war years, toured with her own show "An Evening with Beatrice Lillie". Her rather eccentric persona worked beautifully on Broadway and, in 1958, she replaced Rosalind Russell in "Auntie Mame". In 1964, she took on the role of "Madame Arcati" in the musical version of "Blithe Spirit", entitled "High Spirits". This was to be her last staged musical. Sadly, her style grew passé and outdated in the Vietnam era, and she quickly faded from view after a movie appearance in Thoroughly Modern Millie (1967). At this point, she had already begun to show early signs of Alzheimer's disease, although she managed to publish her biography in 1973. A year later, Bea suffered the first of two strokes and lived the next decade and a half in virtual seclusion. She died in 1989 at age 94.- Nonna Dooley, the future silent screen star, began her career as a showgirl in a Shubert revue in the Winter Garden, later went on to the famed Ziegfeld Follies.
After a successful career on the stage with the Follies, Nita decided to try her hand with films in Hollywood. Her rise to fame was very quick. In 1920, at the age of 25, she starred with the legendary John Barrymore in Dr. Jekyll and Mr. Hyde. This early role seemed to solidify her film career right from the beginning. It was said she was outstanding and beautiful. Her vamp roles were grand. In 1921, she starred in three fine productions: The Last Door, A Divorce of Convenience, and Experience. She was fast becoming filmdom's leading, sexy lady.
However, it was 1922's Blood and Sand that was to set apart from others. Nita starred opposite Rudolph Valentino in one of the silent era's epic last truly great productions. And it was also the last of the vamp roles filmed since Clara Bow had shown that good girls knew about sex too instead of just her more worldly counterparts. Nita would go on to be Valentino's most frequent co-star.
Nita played Dona Sol who leads the Valentino character into dissipation and disgrace. Nita was an absolute hit as the film was at the box-office. Blood and Sand was a smash hit! She made two more hits in 1922, The Snitching Hour and Anna Ascends, but neither measured up to her role as Dona Sol. Nita made several good films in 1923, but the pinnacle that year was Cecil B. DeMille's The Ten Commandments. Not the powerful epic as was the 1956 version, Nita played an adventurous woman, Sally Lung. It was a saga of wages-of-sin drama with flashbacks to Moses time. The film was well-received. Nita continued to star in good movies, most of which were from Paramount.
In 1926 Nita left for Paris where she eloped with J. Searle Barclay, who she had been dating since 1920. The pair would separate in 1931 when Nita returned to New York and filed bankruptcy. While in Europe she made her last 3 films La Femme Nue, The Golden Mask, and The Mountain Eagle. Despite an attempt in the 1940s Nita never made another film despite an acceptable voice.
In need of money she continued to be active on the stage and later on in the infant medium of television. On February 17, 1961, Nita died of a heart attack in her room at the Wentworth Hotel. - Actress
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A former typist, Estelle Taylor married a banker at age 14 and, after leaving him, moved to New York to study dramatic acting. She also modeled for artists and appeared in the chorus of a couple of Broadway shows. In the early 1920s she came to Hollywood and was noted as one of the film state's most beautiful women. In 1925 she married 1920s heavyweight champion boxer Jack Dempsey. On the night of December 4, 1944, she spent an evening of dinner and drinks with actress Lupe Velez and was the last person to see Lupe before she committed suicide. Taylor was founder and president of the California Pet Owners' Protective League and was widely known for her devotion to pets. In 1953 she served on the Los Angeles City Animal Regulation Commission.- Actress
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Fay Compton was born on 18 September 1894 in West Kensington, London, England, UK. She was an actress, known for The Haunting (1963), Othello (1951) and Laughter in Paradise (1951). She was married to Ralph Michael, Leon Quartermaine, Lauri de Frece and Harry Gabriel Pelissier. She died on 12 December 1978 in Hove, East Sussex, England, UK.- Director
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George Waggner was born on 7 September 1894 in New York City, New York, USA. He was a director and writer, known for The Wolf Man (1941), Man Made Monster (1941) and Frisco Sal (1945). He was married to Danny Shannon. He died on 11 December 1984 in Hollywood, California, USA.- Actor
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Lithuanian-born Ivan Lebedeff was educated at the University of St. Petersburg. He was slated for a diplomatic career in the Imperial Lyceum at Tsarskoye Selo - a natural progression, since his aristocratic father was a highly-placed advisor to Tsar Nicholas II of Russia. However, the outbreak of World War I changed all that. Ivan enlisted as a volunteer in the Third Regiment of the Imperial Dragoons and was soon decorated and promoted after capturing a German general near Pskov, at the small town of Nevel. He was wounded in action on more than one occasion, as well as suffering from the effects of mustard gas. Transferred to the Romanian front, he found himself deserted by nearly everyone under his command as the Russian Revolution took hold.
Ivan and other Tsarist supporters made their way to Odessa on the Black Sea, which had been occupied by French and allied forces. Ivan was made impromptu food administrator for the beleaguered city, but was soon captured and imprisoned after the Bolsheviks forced an allied withdrawal. Being a resourceful chap, he was able to escape, and, briefly, led another White Russian contingent in what was - by now - clearly a futile campaign. Ivan eventually slipped across the Turkish border and found sanctuary in Constantinople. From there, he went on to Vienna and then Germany, where he found his first acting opportunities. He later proceeded to Paris, where a chance meeting with legendary director D.W. Griffith led to his being cast as Amiel in The Sorrows of Satan (1926).
Ivan arrived in the U.S. in 1925 and became a naturalised citizen within the year. After another good supporting role opposite Gloria Swanson in The Love of Sunya (1927), he had a good spell in dashing secondary leads at RKO between 1929 and 1931. After that, the stature of his roles began to diminish. He was increasingly typecast as suave continental rogues, gigolos and con-men (if not Russian/Spanish/French counts, princes and army officers - many of them phony), invariably sporting a thin moustache and slicked back hair. By the mid-1940's, Ivan had slipped into relative obscurity with just a few more bit parts and cameos, before his early death from a heart attack in March 1953.- Writer
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Aldous Leonard Huxley was born on July 26, 1894, at Laleham in Godalming, Surrey, England. He was the third of four children. His brother Julian Huxley was a biologist known for his theories of evolution. His grandfather, named Thomas Henry Huxley, was a naturalist known as "Darwin's Bulldog." His father, named Leonard Huxley, was a writer. His mother, named Julia Arnold, was related to poet Matthew Arnold. Young Huxley graduated from the Hillside School, where his mother was supervisor. He was traumatized by the death of both his mother and sister in 1908. He then followed in the footsteps of his brothers by going to Eaton and then to Balliol College, Oxford University. At age 16 he contracted keratitis which left him practically blind for two years, and disqualified him from service in WWI. Upon his recovery he graduated with a First in English Literature, he taught English literature at Balliol College, Oxford.
Huxley's literary life began in 1915, when he joined the circle of Lady Ottoline Morell at Garsington Manor. There he met Bertrand Russell, D.H. Lawrence, T.S. Eliot, Lytton Strachey, Virginia Woolf, and Katherine Mansfield. He also met and fell in love with a Belgian refugee Maria Nys. In 1919 she became his wife, and they had a son, named Matthew. In 1920 Huxley began writing for Conde Nast at House and Garden to support his family, and later contributed to Vanity Fair and Vogue magazines. He soon established himself as a successful writer and social satirist with his novels: Crome Yellow (1921), Antic Hay (1923), Those Barren Leaves (1925, and Point Counter Point (1928). The latter novel brought him international fame and was lated included in the Modern Library list of the top 100 novels of the 20th century.
His best known novel 'Brave New World' (1932) was actually preceded by "We" (written in 1920, published in English in 1924), which was the very first anti-Utopian novel in literature, written by Yevgeni Zamyatin. Both novels describe the futurist idea of One World State, where totalitarian government manipulates people's lives by eliminating individual freedom, family, art, literature, religions and cultural diversity. Totalitarian government controls humans from their conception and regulates assisted reproduction, as well, as education, indoctrination, and also enforces the medical drug use for pacification. Huxley himself called it a "negative utopia" which was written as a parody on 'Men Like Gods' (1923), a Utopian novel by H.G. Wells, which was also preceded by writings of Yevgeni Zamyatin.
In 1937 Huxley moved to Hollywood, California, with wife Maria and a life-long friend Gerald Heard. There Huxley befriended Jiddu Krishnamurti and became one of his disciples, adopting a blend of eastern philosophical traditions with modernized mysticism. He also joined the circle of 'Swami Prabhavadanta' and became influenced by Vedanta and meditating. Huxley dramatically updated his lifestyle, become a vegetarian and practiced yoga. He also experimented with non-addictive psychedelic drugs and wrote about these experiences extensively. He even reported that his eyesight had improved for the first time in over 25 years. After the Second World War Huxley applied for the United States citizenship, but was denied for refusing to take up arms to defend the country. He remained a British Citizen for his entire life. Later in the 1950's he turned down an offer of a Knight Bachelor by the British government.
In 1955 his wife, Maria, died of breast cancer. A year later Huxley became married to Laura Archera Huxley who was herself a writer and also became his biographer. In 1960 Huxley was diagnosed with throat cancer. In his last Utopian novel 'Island' (1962), Huxley re-visited and updated his basic ideas from the 'Brave New World' and from his other novels. In 'Island' Huxley summarized his views on the modern world and society, including his position on medical drug use and his political stands on democracy, modernity, ecology and pacifism. The novel served as an inspiration for the 1960's psychedelic culture and was also incorporated in ideology of the New Age Movement. Huxley's opposition to the rigid social organization and self-destructive nature of modern class society and inevitable fatality of the modern world was paralleled by that of Jean-Paul Sartre.
Aldous Huxley volunteered in experimental drug use in research carried by his friend Dr. Humphry Osmond since 1953. Huxley repeatedly experimented with mescaline injections and described his observations in 'The Doors of Perception' (1954) and 'Heaven and Hell' (1956). His own health deteriorated dramatically in the early 1960's. Huxley spent his last days bedridden, almost blind, and unable to speak. On his deathbed he made a written request to his wife for an intramuscular injection of 100 mg of LSD. Laura Archera Huxley followed his instruction, and Huxley died peacefully in a few hours after the injection. That was on November 22, 1963, in his home in California. His death was obscured by the news of the assassination of President John F. Kennedy, which occurred on the same day.
Huxley wrote the original screenplay for Disney's animated 'Alise in Wonderland' (1951), and co-wrote the screenplays for 'Pride and Prejudice' (1940) and 'Jane Eyre' (1944). Many of his novels were adapted for film or television: two TV productions of 'Brave New World' (in 1980 and in 1998), a BBC production of 'Point counterpoint' (1968) and 'The Devils' (1971) starring Vanessa Redgrave and directed by Ken Russell, as well as other film and TV adaptations.- Actor
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Herman Meckler was born on 15 December 1894 in Flushing, New York, USA. He was an actor and producer, known for Hair (1979), Ragtime (1981) and Amadeus (1984). He died on 3 December 1985 in Jamaica, Queens, New York City, New York, USA.- Producer
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A graduate of Dartmouth College, New Hampshire, Walter Wanger was among the more literate and socially conscious American film producers of his time. At the peak of his career, his salary was exceeded only by that of Louis B. Mayer at MGM. Wanger had served in the air force on the Italian front during World War I. He joined the staff of President Woodrow Wilson as an attaché after the armistice, attending the peace conference in Paris. Having already staged theatricals at college and briefly directed on Broadway, he began in the film industry at Paramount as assistant to studio vice president Jesse L. Lasky in 1921. He worked his way up to a senior executive position, with the power to hire and fire writers, directors and stars. A disagreement with Lasky brought about his departure, but he was re-hired after having success in England as a theatrical producer and agent.
In 1923, he was appointed head of Paramount's Long Island Studio. Shortly after, he was made chief of production, holding that position until 1931. After leaving the company due to personality clashes with new senior management, he had brief spells with Columbia and MGM, producing several big hits, such as The Bitter Tea of General Yen (1932) and Queen Christina (1933). Nonetheless, he didn't get on particularly well with either Harry Cohn or L.B. Mayer and decided to turn independent, releasing his films through Paramount and United Artists. By 1936, Walter Wanger's own production company had the most substantial star roster of any independent filmmaker in Hollywood, including Madeleine Carroll, Charles Boyer, Henry Fonda and Sylvia Sidney.
Wanger's first major success as an independent was The Trail of the Lonesome Pine (1936), the first Technicolor feature for Paramount, and also the first to be shot primarily outdoors. In between solid black & white action films and dramas like You Only Live Once (1937) and Algiers (1938), Wanger also produced several expensive all-colour extravaganzas, not all of which paid off at the box office (point in case, Vogues of 1938 (1937), which failed to recoup its cost of $1.4 million). This rather forced United Artists to keep a closer reign on his future expenditure. However, by the end of the decade, Wanger's reputation increased, with films like Stagecoach (1939) and The Long Voyage Home (1940) (for John Ford) and Foreign Correspondent (1940) (for Alfred Hitchcock). Between 1946 and 1949, Wanger succeeded both in strengthening his own production company and in establishing a distribution network (in conjunction with the independent owners of Film Classics), the Wanger-Nassour Releasing Organisation.
Inevitably, the financial vagaries of independent production were beginning to take their toll. Already hamstrung by the financial woes of one of his subsidiaries, Diana Productions (formed in partnership with his wife Joan Bennett, screenwriter Dudley Nichols and director Fritz Lang),Wanger badly overextended himself in his financing of the 145-minute studio-bound Technicolor epic Joan of Arc (1948), starring Ingrid Bergman. The venture effectively bankrupted another of his production companies (Sierra Pictures), set up with Bergman exclusively for the making of the expensive fiasco. "Joan of Arc" ended up being shunned by audiences (who found it long and boring) and critics (who thought it naïve and altogether missing its spiritual mark) alike. Wanger's financial miscalculation was further compounded in 1951, by his shooting of his wife's paramour. It landed him in jail for four months for attempted murder.
That notwithstanding, Wanger bounced back, finagling a $5 million deal with Allied Artists. After his release from jail, he produced a socially conscious prison film, Riot in Cell Block 11 (1954), on a relatively modest budget. He followed this with one of the most iconic science fiction films ever made, the marvellous Invasion of the Body Snatchers (1956), directed by Don Siegel. On the flipside, Wanger's last throw of the dice, Cleopatra (1963) , with its excessive cost and production difficulties, almost ruined 20th Century Fox and brought about his own premature retirement. After his death from a heart attack in November 1968, a mere $18,000 remained of his estate.
In spite of its highs and lows, the career of Walter Wanger had been nothing but amazing. During his early days at Paramount (then Famous Players Lasky), he had bought the rights to The Sheik (1921), which made a star out of Rudolph Valentino. At the time of his second spell with the studio, he introduced headliners like Claudette Colbert, Hedy Lamarr, and The Marx Brothers to the screen. As a man of strong intellectual inclinations, he recognised the value of good writing. Indeed, many of his films combine a socio-political message with good entertainment. James Mason thought, Wanger had always longed 'to be European'.
In later years, Wanger openly criticised the established Hollywood hierarchy for being over-reliant on star power. His own self-proclaimed rebelliousness also engendered the enmity of practically every major studio boss and his liberal leanings got him into trouble during the HUAC witch hunts of the early 1950's. Nonetheless, Wanger was twice elected president of the Academy of Motion Picture Arts and Sciences and, at the height of his influence, was able to successfully lobby the Academy to introduce Best Foreign Film and Best Documentary as Oscar categories.- Orane Demazis was born on 4 September 1894 in Oran, Oran, France [now Algeria]. She was an actress, known for Angele (1934), Marius (1931) and Les Misérables (1934). She died on 25 December 1991 in Boulogne-Billancourt, Hauts-de-Seine, France.
- Actor Charles Meredith had the requisite good looks to become a popular silent film leading man. Tall, dark and exceedingly good-looking with distinctive high-parted hair, he played opposite Blanche Sweet, Mary Miles Minter, Florence Vidor, Katherine MacDonald, and other top stars of the day in both romantic drama and comedies. In 1924, he abandoned his film career for fulfillment on the stage, not returning to the cinema until 1947 wherein he played a number of small roles with an upstanding, prideful nature (justices, commissioners, reverends, admirals, etc.) Toward the end of his career, he turned to TV as well, notably as Secretary Drake in the Rocky Jones, Space Ranger (1954) series. He died at age 70 in 1964.
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Albert Lewin was born on 23 September 1894 in Brooklyn, New York, USA. He was a writer and producer, known for The Picture of Dorian Gray (1945), Pandora and the Flying Dutchman (1951) and The Living Idol (1957). He was married to Mildred Mindlin Jacobs. He died on 9 May 1968 in New York City, New York, USA.- Actor
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Matt McHugh was born Mathew O. McHugh on January 22, 1894 in Connellsville, PA. He was born into a show business family, joining his parents, brother Frank and sister Kitty on the stage as soon as he learned to talk. When Matt was fourteen, he performed an act with Kitty, but by 1930, the family had abandoned show business altogether. McHugh had already made his Broadway debut as Vincent Jones in Elmer Rice's Street Scenes (1929), and in 1931, he would come to Hollywood and repeat that stage role. He appeared with Edward Brophy as one of the Rollo Brothers in Tod Browning's Freaks (1932), and continued to get sizable film assignments, most notably the bourgeois Italian bridegroom Francesco in Laurel and Hardy's Fra Diavolo (The Devil's Brother) in 1933.
Matt strongly resembled his more-famous brother, Frank, who had previously signed a contract in 1930 with the Warner Brothers Stock Company. Frank portrayed a variety of wise-cracking sidekicks with a sly wit and charming laugh, becoming a very popular character actor well into the 1950's. Matt approached his screen image differently, projecting an abrasive, sardonic screen image, despite his Pennsylvania origins. He usually performed his roles with a Brooklyn accent, and was often cast as rough-edged characters that were explicitly from Brooklyn, like cab drivers, bartenders and mechanics. For example, in the film Star Spangled Banner (1941), his one scene is an extended monologue during the climactic "Old Glory" sequence, in which he plays a character who literally embodies the spirit of Brooklyn.
McHugh eventually appeared in over 200 films between 1931 and 1955, primarily in small cameo parts, but his best opportunities came in the 1940's with supporting roles in the numerous two-reel short comedies of Andy Clyde, Hugh Herbert, Walter Catlett, The Three Stooges and many others, usually cast as a lazy or caustic brother-in-law.
Matt McHugh died of a heart attack on February 22, 1971 in Northridge, CA- Writer
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Aleksandr Dovzhenko was born on 10 September 1894 in Vyunishche, Sosnitsa Ueyzd, Chernigov Governorate, Russian Empire [now Sosnitsa, Sosnitsa Raion, Chernihiv Oblast, Ukraine]. He was a writer and director, known for Earth (1930), Shors (1939) and Life in Bloom (1949). He was married to Yuliya Solntseva. He died on 25 November 1956 in Moscow, Russian SFSR, USSR [now Russia].