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- Actress
Karen Steele was born on March 20, 1931, in Honolulu, Hawaii. A former cover girl and model, she was one of the most strikingly beautiful actresses to ever work in film and television. She went to the University of Hawaii and to Rollins College in Florida before gracing our film screens with her first film in 1952. Rumor has it she was mistaken for another actress by producer Delbert Mann when he cast her as a hard case in the drama film Marty (1955). Like many actresses, as she got older, she turned to television commercials for income. She also became involved in charitable causes and community service. Karen Steele died of cancer in Kingman, Arizona, on March 12, 1988, little more than a week before her 57th birthday.- Actress
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Born Joan de Beauvoir de Havilland on October 22, 1917, in Tokyo, Japan, in what was known as the International Settlement, to British parents, Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her paternal grandfather's family was from Guernsey in the Channel Islands. Her father had a lucrative practice in Japan, but due to Joan and older sister Olivia de Havilland's recurring ailments the family moved to California in the hopes of improving their health. Mrs. de Havilland and the two girls settled in Saratoga while their father went back to his practice in Japan. Joan's parents did not get along well and divorced soon afterward. Mrs. de Havilland had a desire to be an actress but her dreams were curtailed when she married, but now she hoped to pass on her dream to Olivia and Joan. While Olivia pursued a stage career, Joan went back to Tokyo, where she attended the American School. In 1934 she came back to California, where her sister was already making a name for herself on the stage. Joan likewise joined a theater group in San Jose and then Los Angeles to try her luck there. After moving to L.A., Joan adopted the name of Joan Burfield because she didn't want to infringe upon Olivia, who was using the family surname.
She tested at MGM and gained a small role in No More Ladies (1935), but she was scarcely noticed and Joan was idle for a year and a half. During this time she roomed with Olivia, who was having much more success in films. In 1937, this time calling herself Joan Fontaine, she landed a better role as Trudy Olson in You Can't Beat Love (1937) and then an uncredited part in Quality Street (1937). Although the next two years saw her in better roles, she still yearned for something better. In 1940 she garnered her first Academy Award nomination for Rebecca (1940). Although she thought she should have won, (she lost out to Ginger Rogers in Kitty Foyle (1940)), she was now an established member of the Hollywood set. She would again be Oscar-nominated for her role as Lina McLaidlaw Aysgarth in Suspicion (1941), and this time she won. Joan was making one film a year but choosing her roles well. In 1942 she starred in the well-received This Above All (1942).
The following year she appeared in The Constant Nymph (1943). Once again she was nominated for the Oscar, she lost out to Jennifer Jones in The Song of Bernadette (1943). By now it was safe to say she was more famous than her older sister and more fine films followed. In 1948, she accepted second billing to Bing Crosby in The Emperor Waltz (1948). Joan took the year of 1949 off before coming back in 1950 with September Affair (1950) and Born to Be Bad (1950). In 1951 she starred in Paramount's Darling, How Could You! (1951), which turned out badly for both her and the studio and more weak productions followed.
Absent from the big screen for a while, she took parts in television and dinner theaters. She also starred in many well-produced Broadway plays such as Forty Carats and The Lion in Winter. Her last appearance on the big screen was The Witches (1966) and her final appearance before the cameras was Good King Wenceslas (1994). She is, without a doubt, a lasting movie icon.- Actress
- Additional Crew
Tura Satana started exotic dancing when she was only 13 years old. She integrated acrobatics, humor, and sensual beauty to her dancing art form. As a dancer, she started doing guest appearances in films such as Our Man Flint (1966) and Who's Been Sleeping in My Bed? (1963) and made several films with low-budget auteur Ted V. Mikels. Her skills as a martial artist landed her small roles in TV shows such as Hawaiian Eye (1959), The Man from U.N.C.L.E. (1964), The Girl from U.N.C.L.E. (1966), The Greatest Show on Earth (1963) and Burke's Law (1963).- Gila Golan's career started as an Israeli fashion model, which led to appearances as a film actress. She was apparently born in Krakow, Poland, for she was discovered there in a train station during the German occupation in 1940. She was adopted by a Roman Catholic couple and later sent to a boarding school in France before emigrating to Israel after World War II where she changed her name from Zusia Sobetzcki to Miriam Goldberg. She became interested in fashion and her being spotted by an American photographer led to appearing in the Israeli magazine La'isha. It was a natural step for her to extend her fashion activities into the 1960 competition which led to her being crowned "Na'arat Israel" - Israel's Maiden of Beauty (IMB) - or using international usage, "Miss Israel." For this competition she changed her name to Gila Golan. Such a change of names to one more typically Israeli was common at the time, but she may have done this to prevent any embarrassment to her religiously conservative family and friends. She went on to place second in the Miss World competition held later that year in London where she met the Columbia Pictures executive William Cohan and his wife. This led to her entrance into films with a debut in Ship of Fools (1965). Cohen and his wife came to view her as sort of a foster daughter. She married three times and has several children and reportedly she now runs an investment business.
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The quintessential jet-set Euro starlet, Ursula Andress was born in the Swiss canton of Berne on March 19, 1936, one of six children in a strict German Protestant family. Although often seeming icily aloof, a restless streak early demonstrated itself in her personality, and she had an impetuous desire to explore the world outside Switzerland. (For instance, she was tracked down by Interpol for running away from boarding school at 17 years old.) The stunning young woman found work as an art model in Rome and did walk-on parts in three quickie Italian pictures before coming to Hollywood in 1955 and getting nowhere professionally; a four-month fling with rising star James Dean brought her good publicity but not much else. That same year, still just 19, she met and had an affair with fading matinée idol John Derek, who left his wife Pati Behrs and two kids for Ursula even though she spoke almost no English at the time. In 1957 they eloped to Las Vegas, and the new bride put her acting aspirations on hold for a few years thereafter.
1962 saw the relatively unknown Swiss beauty back on the set, playing opposite Sean Connery in the first movie version of Ian Fleming's fanciful "James Bond" espionage novels, Dr. No (1962). Andress' role as bikini-clad Honey Ryder was somewhat brief, and her Swiss/German accent so thick that her entire performance had to be dubbed by a voiceover artist. Nevertheless, her striking looks and smoldering screen presence made a strong impression on moviegoers, immediately establishing her as one of the most desired women in the world and as an ornament to put alongside some of the most bankable talent of the era, such as Elvis Presley in Fun in Acapulco (1963) and Dean Martin in 4 for Texas (1963). In 1965, she was one of several European starlets to co-star in What's New Pussycat (1965) -- a film that perhaps sums up mid-'60s pop culture better than any other -- written by Woody Allen, starring Allen and Peter Sellers, with music by Burt Bacharach, a title song performed by Tom Jones and much on-screen sexual romping.
Andress appeared in many more racy-for-their time movies in both the United States and Europe, including The 10th Victim (1965), in which she wore a famously ballistic bra, and The Blue Max (1966), where she was aptly cast as the sultry, insatiable wife of an aristocratic World War I German general. She was also featured in Casino Royale (1967), a satirical foray into the world of James Bond, and gave a sparkling performance in the T&A-filled crime caper Perfect Friday (1970). Roles as a prostitute kidnapped by outlaws in Red Sun (1971), a stewardess living on the edge in Loaded Guns (1975), and a bombshell nurse hired to titillate a doddering millionaire to death in The Sensuous Nurse (1975) all provided plenty of excuses to throw her clothes to the wind. In Slave of the Cannibal God (1978), she was notoriously stripped and slathered in orange paint by a pair of nubiles. Then she took on the sophisticated role of Louise de la Valliere, slinky, conspiratorial mistress of King Louis XIV (Beau Bridges) in The Fifth Musketeer (1979).
As for her personal life, Andress separated from Derek in 1964 and got divorced two years later, after falling in love with French superstar Jean-Paul Belmondo on the Malaysian set of Up to His Ears (1965). (Ron Ely, John Richardson and Marcello Mastroianni kept her company during the interim.) The relationship with Belmondo hit a wall in 1972, and she was next attached to her leading man from Stateline Motel (1973), Italian heartthrob Fabio Testi. When that didn't work out, Andress jumped into the dating pool, sporadically involved with a host of Lotharios including (but by no means limited to) Dennis Hopper, Franco Nero, John DeLorean and Ryan O'Neal. In 1979, she began what would be a long-term romance with Harry Hamlin, her handsome young co-star from Clash of the Titans (1981) (in which she was cast, predictably, as "Aphrodite"). While subsequently traveling in India, Andress' belly began to swell out of her clothing, and she felt very nauseous. What at first seemed a severe case of "Delhi Belly" turned out to be pregnancy, her first and only, at age 43. Hamlin encouraged her to have the baby, and on May 19, 1980, the international sex symbol gave birth to a boy named Dimitri Hamlin amid much hoopla.
After the birth of her son, Andress scaled back her career, which now focused on slight European productions, as she was raising Dimitri in Italy. This meant turning down a big-budget Mel Brooks film in lieu of Red Bells (1982) (starring old flame Nero). Occasional television stints on the soap opera Falcon Crest (1981) and critically lauded miniseries Peter the Great (1986) helped maintain her visibility as an actress. Dumped by Hamlin in 1983, she started seeing Fausto Fagone, a Sicilian student three decades her junior, in 1986. In 1991, she met a new man when things dwindled with Fagone -- karate master Jeff Speakman. Since the breakup of that relationship, her love life has gone undocumented. She last worked on a film in 2005. Apparently retired from acting, Ursula makes the rounds of charity events and pops up on foreign talk shows every now and then. She divides her time between family in Switzerland, friends in Virginia and Spain, and her properties in Rome and L.A.- Actress
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Striking, dark-haired beauty Zena Moyra Marshall was born of French (from her mother's side) and English/Irish (her father's) ancestry in Nairobi, Kenya. After the early death of her father, her mother remarried and moved the family to Leicestershire. Zena received her education from St Mary's Roman Catholic School in Ascot. Her interest in the acting profession matured after a wartime theatrical tour with the Entertainments National Service Association (ENSA), while still in her teens. After completing her training at RADA, her exotic looks led to a contract with the Rank Organisation where she was groomed by the so-called 'charm school' as a sultry temptress and second lead in costume films, romantic melodramas and thrillers.
Marshall made her screen debut in the stagey, moribund epic Caesar and Cleopatra (1945) with a bit-part as a handmaiden. Interestingly this film was also a screen bow for future James Bond star Roger Moore, uncredited as a Roman soldier. Marshall's subsequent career was anything but meteoric. For several years she was given only minor supporting roles in productions by Rank affiliates, such as GFD/Two Cities and Gainsborough, including Sleeping Car to Trieste (1948), Snowbound (1948) and So Long at the Fair (1950). A brief sojourn in Hollywood resulted in a lacklustre Allied Artists musical, Let's Be Happy (1957), in which she played an amorous redhead, rivalling star Vera-Ellen for the affections of crooner Tony Martin. During the 1950s she managed to rekindle her theatrical career and, by the end of the decade, went on tour through Germany and the Netherlands with "The Late Edwina Black". Marshall was one of the first actresses to be featured in a British television commercial (for shampoo) on early ITV. Television did, in the end, become her favoured medium; she had some of her better on-screen moments in three episodes of Danger Man (1960), opposite Patrick McGoohan, between 1961 and 1964.
Zena Marshall's main claim to fame rests on her portrayal of the Eurasian double agent, Miss Taro, in the first ever Bond film, Dr. No (1962). Her character was, incidentally, the first woman seduced by Bond, prior to his encounter with Ursula Andress in the part of Honey Ryder. Another noted beauty, the reigning Miss Jamaica, Marguerite LeWars, was originally slated to screen test for Miss Taro. However, LeWars declined for reasons of 'personal modesty' and is merely glimpsed in the film in a bit part as an unnamed photographer. Marshall herself was at first unhappy with the script, but Terence Young, who had previously worked with her on the poorly-received costume biopic The Bad Lord Byron (1949), lightened some of the dialogue with humour. In the end, the bedroom scene with Sean Connery took three days to shoot, because Marshall struggled with the idea of having to spit in her co-star's face, after Bond has her character turned over to the superintendent of police. Miss Taro remains one of the most iconic of Bond villainesses.
Marshall's last roles of note were as an Italian countess in Those Magnificent Men in Their Flying Machines or How I Flew from London to Paris in 25 Hours 11 Minutes (1965), and as a secretary fighting alien enemies (alongside Charles Hawtrey, incongruously cast as an accountant) in the insipid sci-fi outing The Terrornauts (1967). After that, she retired from the screen and settled into domestic life with her third husband, the writer/producer Ivan Foxwell.- This beautiful, stylish, London-born blonde started out quite promisingly on the stage and in late 1960s films before phasing out her career in the 1990s. Joanna Pettet was born Joanna Jane Salmon and raised in Canada. Her father, a British Royal Air Force pilot, was killed in WWII. Her trek to New York to study at the Neighborhood Playhouse paid off with subsequent Broadway roles in "Take Her, She's Mine" (debut: understudy to Elizabeth Ashley), "The Chinese Prime Minister" and "Poor Richard" with Alan Bates, which earned her the Theatre World Award in 1965.
A steady role on The Doctors (1963) daytime soap occurred around this time. Escorted to Hollywood, Pettet stood her ground among the other talented hopefuls such as Candice Bergen, Shirley Knight, Jessica Walter and the late Joan Hackett and Elizabeth Hartman in the glossy Ivy League film soap The Group (1966). Continuing, she proved a diverting love interest in the British thriller Robbery (1967) and in the French/English co-production The Night of the Generals (1967), and was one of the more interesting figures to come out of the elephantine James Bond spoof Casino Royale (1967), in which she played the fetching, exotic-dancing Mata Bond.
A versatile player, she was unfortunately cast in roles that emphasized her beauty rather than her talent. Playboy magazine took an interest, and she graced a nude pictorial in 1968, the same year she married actor Alex Cord. A host of bad films, however, such as Blue (1968) and The Best House in London (1969), put the kibosh on her film career. In the 1970s she was prominently featured in run-of-the-mill TV movies such as The Weekend Nun (1972), Pioneer Woman (1973), A Cry in the Wilderness (1974), A Midsummer Nightmare (1975) (aka "Appointment with a Killer"), Captains and the Kings (1976), Sex and the Married Woman (1977) and The Return of Frank Cannon (1980). Series work included Night Gallery (1969) and Harry O (1973), but none of this stretched her abilities. By the late 1970s she was appearing in "has-been" shows like Fantasy Island (1977) and The Love Boat (1977). She was little seen after that; her career ended in low-budget work such as Double Exposure (1982), Sweet Country (1987) and Terror in Paradise (1991). Since then, Pettet has been out of the scene.
She was divorced from Cord in 1989. Her only child, Damien Zachary Cord, fell into a fatal coma after an acute heroin overdose in 1995, aged 26. She later became the caregiver and companion of her friend, actor Alan Bates, until his death from cancer in 2003. - Actress
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Deborah Jane Trimmer was born on 30 September 1921 in Glasgow, Scotland, the daughter of Captain Arthur Kerr Trimmer. She was educated at Northumberland House, Clifton, Bristol. She first performed at the Open Air Theatre in Regent's Park, London. She subsequently performed with the Oxford Repertory Company 1939-40. Her first appearance on the West End stage was as Ellie Dunn in "Heartbreak House" at the Cambridge Theatre in 1943. She performed in France, Belgium and Holland with ENSA (Entertainments National Service Association, or Every Night Something Awful) - The British Army entertainment service. She has appeared in many films from her first appearance in Major Barbara (1941).- Stunningly beautiful and charismatic blonde Barbara Bouchet was born Barbel Goutscherola on August 15th, 1943 in Liberec, Czechoslovakia, known as Reichenberg, during the German occupation. Her father, Fritz, was a war photographer.
Her family was forced to leave the country when Barbara was a little girl and her name was changed to Barbara Gutscher. They got separated, but ended up getting together again. They migrated in December 1956 and settled in San Francisco, California, where Barbara attended the prestigious Galileo High School, a polytechnic school with commercial and industrial branches. Bouchet speaks English, German and Italian with equal fluency. In an interview to Shock Cinema (Number 44), Barbara Bouchet says her name had been changed again to Bouchet at the start of her career, because it sounded like her German name.
Barbara was inspired to be a screen actress after seeing the work of German actress Christine Kaufmann in Der schweigende Engel (1954) ("The Silent Angel").
In 1959, her father submitted a photo of her to the "Miss Gidget" beauty contest, and she won. The contest was held by the local television station KPIX-TV, based on the character of what has been considered the first "beach party movie" in Hollywood history, Gidget (1959). The prize included a date with James Darren the famous star of that movie, and a screen test. The screen test never materialized.
Barbara was featured as a dancer on the teen-targeted rock'n'roll TV show, The KPIX Dance Party, from 1959 to 1962.
Bouchet began a career of teen model that led to her extensive magazine cover model (35 covers). In October 1983, at age 40, Bouchet did a nude pictorial for the Italian edition of "Penthouse" magazine.
Barbara acted in TV commercials. She made her film debut with an uncredited bit part in the comedy What a Way to Go! (1964). Bouchet soon became known for openly flaunting her spectacularly curvaceous figure in several pictures: clad in alluring silk harem robes in John Goldfarb, Please Come Home! (1965), cavorting nude on the beaches of Pearl Harbor in the World War II epic In Harm's Way (1965), and wearing a bikini for the bulk of her screen time in Agent for H.A.R.M. (1966). She also portrayed "Ursula" in Bob Fosse's outstanding musical Sweet Charity (1969), made for a nicely sultry "Miss Moneypenny" in the tongue-in-cheek 007 outing Casino Royale (1967), and had guest spots on such TV series as The Virginian (1962), Star Trek (1966), Voyage to the Bottom of the Sea (1964), and The Man from U.N.C.L.E. (1964).
In 1970, fed-up with being typecast as a mindless sexpot in Hollywood fare, she moved to Italy. She soon became one of Italy's top actresses, carving out a fruitful niche for herself in sex comedies, giallo murder mysteries and gritty crime thrillers. Among her most memorable roles in these Italian features are the brazen spoiled rich lady "Patrizia" in Lucio Fulci's disturbing Don't Torture a Duckling (1972) ("Don't Torture A Duckling"), prostitute "Francine" in The French Sex Murders (1972) ("The French Sex Murders"), modeling agency choreographer "Kitty" in The Red Queen Kills Seven Times (1972) ("Red Queen Kills 7 Times"), saucy love interest "Scilla" in the splendidly sleazy The Mean Machine (1973), and enticing stripper "Anny" in Death Rage (1976) ("Death Rage"). Bouchet had an unforgettably steamy lesbian love scene with Rosalba Neri in Amuck! (1972) ("Amuck"). Barbara Bouchet appeared alongside fellow Bond girls Barbara Bach and Claudine Auger in Black Belly of the Tarantula (1971) ("The Black Belly of the Tarantula"). Barbara Bouchet continues to act in both films and TV shows, alike, made in Italy. Barbara popped up in a small role (as the wife of giallo star David Hemmings) in Martin Scorsese's Gangs of New York (2002).
Barbara married producer Luigi Borghese in 1976. They had two sons: Alessandro Borgese (b. 1974), a chef hosting a show on the Italian cable TV; and Massimiliano Borghese (b. 1989), a bartender. During the shooting of Diamond Connection (1984) in Istanbul, there was mention of a separation in the Turkish language "New World Video & Magazine" of September 1984, but the divorce happened much later.
In 1985, Bouchet started her own production company, opened her own health club in Rome, and launched her own line of fitness books and videos.
[based on woodyanders] - Gabriella Licudi was born Gabrielle Carmen Stuttard, the only child of Wilfred James Stuttard, a naval engineer from Northern Ireland, and Olga Maria Licudi of Gibraltar, from whom she took her stage name. After seeing a film dealing with the education of deaf mutes, Gabriella was so moved she decided to become a teacher of elocution. To help prepare for her chosen profession she enrolled in courses at the Central School of Speech and Drama, where she was spotted by an agent while performing in a class production in 1961. Accepting an offer from the Citizen's Theatre of Glasgow, a week before departing for Scotland Gabriella "gate-crashed" an audition for a new stage play, John Mortimer's "Two Stars for Comfort", starring Trevor Howard. The play was a hit and ran for nine months in London's West End. Producer Samuel Bronston attended a performance and offered Gabriella a small role in his upcoming epic The Fall of the Roman Empire (1964). Gabriella went on to appear in several more films & popular television series, including the title role in the sci-fi cult classic Unearthly Stranger (1963), as a widowed expatriate opposite Patrick McGoohan in an episode of Secret Agent (1964), one of the conspiratorial McTarry daughters in the Bond-spoof extravaganza Casino Royale (1967), in the Henry Hathaway African adventure The Last Safari (1967), and the female lead in the legendary and little-seen experimental feature Herostratus (1967) by Don Levy. Gabriella left films in the 1970s and relocated to Africa, where she and her South African husband ran a safari lodge for several years before she eventually returned to London to run her own production company.
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Helen Funai was born on 25 January 1943 in Los Angeles, California, USA. She is an actress and producer, known for The Colbys (1985), Our Man Flint (1966) and My Three Sons (1960). She was previously married to Harry Eugene Erickson Jr..- Jacqueline Ray was born on 26 January 1945 in Burbank, California, USA. She is an actress, known for Magnum, P.I. (1980), The Killings at Outpost Zeta (1980) and In Like Flint (1967). She has been married to Clarence Barry Witmer since 21 March 1992. She was previously married to Tom Selleck and Tom Shepard.
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Yvonne De Carlo was born Margaret Yvonne Middleton on September 1, 1922 in Vancouver, British Columbia, Canada. She was three when her father abandoned the family. Her mother turned to waitressing in a restaurant to make ends meet--a rough beginning for an actress who would, one day, be one of Hollywood's elite. Yvonne's mother wanted her to be in the entertainment field and enrolled her in a local dance school and also saw that she studied dramatics. Yvonne was not shy in the least. She was somewhat akin to Colleen Moore who, like herself, entertained the neighborhood with impromptu productions. In 1937, when Yvonne was 15, her mother took her to Hollywood to try for fame and fortune, but nothing came of it and they returned to Canada. They came back to Hollywood in 1940, where Yvonne would dance in chorus lines at night while she checked in at the studios by day in search of film work. After appearing in unbilled parts in three short films, she finally got a part in a feature.
Although the film Harvard, Here I Come! (1941) was quite lame, Yvonne glowed in her brief appearance as a bathing beauty. The rest of 1942 and 1943 saw her in more uncredited roles in films that did not quite set Hollywood on fire. In The Deerslayer (1943), she played Wah-Tah. The role did not amount to much, but it was much better than the ones she had been handed previously. The next year was about the same as the previous two years. She played small parts as either secretaries, someone's girlfriend, native girls or office clerks. Most aspiring young actresses would have given up and gone home in defeat, but not Yvonne. She trudged on. The next year, started out the same, with mostly bit parts, but later that year, she landed the title role in Salome, Where She Danced (1945) for Universal Pictures. While critics were less than thrilled with the film, it was at long last her big break, and the film was a success for Universal. Now she was rolling.
Her next film was the western comedy Frontier Gal (1945) as Lorena Dumont. After a year off the screen in 1946, she returned in 1947 as Cara de Talavera in Song of Scheherazade (1947), and many agreed that the only thing worth watching in the film was Yvonne. Her next film was the highly regarded Burt Lancaster prison film Brute Force (1947). Time after time, Yvonne continued to pick up leading roles, in such pictures as Slave Girl (1947), Black Bart (1948), Casbah (1948) and River Lady (1948). She had a meaty role in Criss Cross (1949), a gangster movie, as the ex-wife of a hoodlum. At the start of the 1950s, Yvonne enjoyed continued success in lead roles. Her talents were again showcased in movies such as The Desert Hawk (1950), Silver City (1951) and Scarlet Angel (1952). Her last film in 1952 was Hurricane Smith (1952), a picture most fans and critics agree is best forgotten.
In 1956, she appeared in the film that would immortalize her best, The Ten Commandments (1956). She played Sephora, the wife of Moses (Charlton Heston). The film was, unquestionably, a super smash, and is still shown on television today. Her performance served as a springboard to another fine role, this time as Amantha Starr in Band of Angels (1957). In the late 1950s and early 1960s, Yvonne appeared on such television series as Bonanza (1959) and The Virginian (1962). With film roles drying up, she took the role of Lily Munster in the smash series The Munsters (1964). However, she still was not completely through with the big screen. Appearances in such films as McLintock! (1963), The Power (1968), The Seven Minutes (1971) and La casa de las sombras (1976) kept her before the eyes of the movie-going public. Yvonne De Carlo died at age 84 of natural causes on January 8, 2007 in Woodland Hills, California.- Yvonne Romain was born on 17 February 1938 in London, England, UK. She is an actress, known for Corridors of Blood (1958), Double Trouble (1967) and The Swinger (1966). She was previously married to Leslie Bricusse.
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Veronica Lake was born as Constance Frances Marie Ockleman on November 14, 1922, in Brooklyn, New York. She was the daughter of Constance Charlotta (Trimble) and Harry Eugene Ockelman, who worked for an oil company as a ship employee. Her father was of half German and half Irish descent, and her mother was of Irish ancestry. While still a child, Veronica's parents moved to Florida when she was not quite a year old. By the time she was five, the family had returned to Brooklyn. When Connie was only twelve, tragedy struck when her father died in an explosion on an oil ship. One year later her mother married Anthony Keane and Connie took his last name as her own. In 1934, when her stepfather was diagnosed with tuberculosis, the family moved to Saranac Lake, where Connie Keane enjoyed the outdoor life and flourished in the activities of boating on the lakes, skating, skiing, swimming, biking around Moody Pond and hiking up Mt Baker. The family made their home in 1935 at 1 Watson Place, (now 27 Seneca Street) then they moved to 1 Riverside Drive,(now Lake Kiwassa Road). Both Connie and Anthony benefited from the Adirondack experience and in 1936 the family left the Adirondacks and moved to Miami, FL., however, the memories of those carefree Saranac Lake days would always remain deeply rooted in her mind.
Two years later, Connie graduated from high school in Miami. Her natural beauty and charm and a definite talent for acting prompted her mother and step-father to move to Beverly Hills, California, where they enrolled her in the well known Bliss Hayden School of Acting in Hollywood. Connie had previously been diagnosed as a classic schizophrenic and her parents saw acting as a form of treatment for her condition. She showed remarkable abilities and did not have to wait long for a part to come her way.
Her first movie was as one of the many coeds in the RKO film, Sorority House (1939). It was a minor part, to be sure, but it was a start. Veronica quickly followed up that project with two other films. All Women Have Secrets (1939) and Dancing Co-Ed (1939), were again bit roles for the pretty young woman from the East Coast, but she did not complain. After all, other would-be starlets took a while before they ever received a bit part. Veronica continued her schooling, while taking a bit roles in two more films, Young as You Feel (1940) and Forty Little Mothers (1940). Prior to this time, she was still under her natural name of Constance Keane. Now, with a better role in I Wanted Wings (1941), she was asked to change her name, and Veronica Lake was born. Now, instead of playing coeds, she had a decent, speaking part. Veronica felt like an actress. The film was a success and the public loved this bright newcomer.
Paramount, the studio she was under contract with, then assigned her to two more films that year, Hold Back the Dawn (1941) and Sullivan's Travels (1941). The latter received good reviews from the always tough film critics. As Ellen Graham, in This Gun for Hire (1942) the following year, Veronica now had top billing. She had paid her dues and was on a roll. The public was enamored with her. In 1943, Veronica starred in only one film. She portrayed Lieutenant Olivia D'Arcy in So Proudly We Hail! (1943) with Claudette Colbert. The film was a box-office smash. It seemed that any film Veronica starred in would be an unquestionable hit. However, her only outing for 1944, The Hour Before the Dawn (1944) would not be well-received by either the public or the critics. As Nazi sympathizer Dora Bruckmann, Veronica's role was dismal at best. Critics disliked her accent immensely because it wasn't true to life. Her acting itself suffered because of the accent. Mediocre films trailed her for all of 1945. It seemed that Veronica was dumped in just about any film to see if it could be salvaged. Hold That Blonde! (1945), Out of This World (1945), and Miss Susie Slagle's (1946) were just a waste of talent for the beautiful blonde. The latter film was a shade better than the previous two. In 1946, Veronica bounced back in The Blue Dahlia (1946) with Alan Ladd and Howard Da Silva. The film was a hit, but it was the last decent film for Veronica. Paramount continued to put her in pathetic movies. After 1948, Paramount discharged the once prized star, and she was out on her own. In 1949, she starred in the Twentieth Century film Slattery's Hurricane (1949), which, unfortunately, was another weak film. She was not on the big screen again until 1952 when she appeared in Stronghold (1951). By Veronica's own admission, the film "was a dog". From 1952 to 1966, Veronica made television appearances and even tried her hand on the stage. Not a lot of success for her at all. By now alcohol was the order of the day. She was down on her luck and drank heavily. In 1962, Veronica was found living in an old hotel and working as a bartender. She finally returned to the big screen in Footsteps in the Snow (1966). Another drought ensued and she appeared on the silver screen for the last time in Flesh Feast (1970) - a very low budget film.
On July 7, 1973, Veronica died of hepatitis in Burlington, Vermont. The beautiful actress with the long blonde hair was dead at the age of 50.- Actress
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Irène Tunc was born on 25 September 1934 in Lyon, Rhône-Alpes, France. She was an actress and writer, known for Léon Morin, Priest (1961), I Love You, I Love You (1968) and The Conqueror of the Orient (1960). She was married to Alain Cavalier and Ivan Govar. She died on 16 January 1972 in Versailles, Yvelines, France.- Actress
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Gina Lollobrigida was born on July 4, 1927 in Subiaco, Italy. Destined to be called "The Most Beautiful Woman in the World", Gina possibly had St. Brigid as part of her surname. She was the daughter of a furniture manufacturer, and grew up in the pictorial mountain village. The young Gina did some modeling and, from there, went on to participate successfully in several beauty contests. In 1947, she entered a beauty competition for Miss Italy, but came in third. The winner was Lucia Bosè (born 1931), who would go on to appear in over 50 movies, and the first runner-up was Gianna Maria Canale (born 1927), who would appear in almost 50 films. After appearing in a half-dozen films in Italy, it was rumored that, in 1947, film tycoon Howard Hughes had her flown to Hollywood; however, this did not result in her staying in America, and she returned to Italy (her Hollywood breakout movie would not come until six years later in the John Huston film Beat the Devil (1953)).
Back in Italy, in 1949, Gina married Milko Skofic, a Slovenian (at the time, "Yugoslavian") doctor, by whom she had a son, Milko Skofic Jr. They would be married for 22 years, until their divorce in 1971. As her film roles and national popularity increased, Gina was tagged "The Most Beautiful Woman in the World", after her signature movie Beautiful But Dangerous (1955). Gina was nicknamed "La Lollo", as she embodied the prototype of Italian beauty. Her earthy looks and short "tossed salad" hairdo were especially influential and, in fact, there's a type of curly lettuce named "Lollo" in honor of her cute hairdo. Her film Come September (1961), co-starring Rock Hudson, won the Golden Globe Award as the World's Film Favorite. In the 1970s, Gina was seen in only a few films, as she took a break from acting and concentrated on another career: photography. Among her subjects were Paul Newman, Salvador Dalí and the German national soccer team.
A skilled photographer, Gina had a collection of her work "Italia Mia", published in 1973. Immersed in her other passions (sculpting and photography), it would be 1984 before Gina would grace American television on Falcon Crest (1981). Although Gina was always active, she only appeared in a few films in the 1990s. She retired from acting in 1997 after 50 years in the motion picture industry. In June 1999, she turned to politics and ran, unsuccessfully, for one of Italy's 87 European Parliament seats, from her hometown of Subiaco. Gina was also a corporate executive for fashion and cosmetics companies. As she told Parade magazine in April 2000: "I studied painting and sculpting at school and became an actress by mistake". (We're glad she made that mistake). Gina went on to say: "I've had many lovers and still have romances. I am very spoiled. All my life, I've had too many admirers."- Actress
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In America, the early performing arts accomplishments of young Maureen FitzSimons (who we know as Maureen O'Hara) would definitely have put her in the child prodigy category. However, for a child of Irish heritage surrounded by gifted parents and family, these were very natural traits. Maureen made her entrance into this caring haven on August 17, 1920, in Ranelagh (a suburb of Dublin), Ireland. Her mother, Marguerita Lilburn FitzSimons, was an accomplished contralto. Her father, Charles FitzSimons, managed a business in Dublin and also owned part of the renowned Irish soccer team "The Shamrock Rovers." Maureen was the second of six FitzSimons children - Peggy, Florrie, Charles B. Fitzsimons, Margot Fitzsimons and James O'Hara completed this beautiful family.
Maureen loved playing rough athletic games as a child and excelled in sports. She combined this interest with an equally natural gift for performing. This was demonstrated by her winning pretty much every Feis award for drama and theatrical performing her country offered. By age 14 she was accepted to the prestigious Abbey Theater and pursued her dream of classical theater and operatic singing. This course was to be altered, however, when Charles Laughton, after seeing a screen test of Maureen, became mesmerized by her hauntingly beautiful eyes. Before casting her to star in Jamaica Inn (1939), Laughton and his partner, Erich Pommer, changed her name from Maureen FitzSimons to "Maureen O'Hara" - a bit shorter last name for the marquee.
Under contract to Laughton, Maureen's next picture was to be filmed in America (The Hunchback of Notre Dame (1939)) at RKO Pictures. The epic film was an extraordinary success and Maureen's contract was eventually bought from Laughton by RKO. At 19, Maureen had already starred in two major motion pictures with Laughton. Unlike most stars of her era, she started at the top, and remained there - with her skills and talents only getting better and better with the passing years.
Maureen has an enviable string of all-time classics to her credit that include the aforementioned "The Hunchback of Notre Dame," How Green Was My Valley (1941), Miracle on 34th Street (1947), Sitting Pretty (1948), The Quiet Man (1952), and The Parent Trap (1961). Add to this the distinction of being voted one of the five most beautiful women in the world and you have a film star who was as gorgeous as she was talented.
Although at times early in her career Hollywood didn't seem to notice, there was much more to Maureen O'Hara than her dynamic beauty. She not only had a wonderful lyric soprano voice, but she could use her inherent athletic ability to perform physical feats that most actresses couldn't begin to attempt, from fencing to fisticuffs. She was a natural athlete.
In her career Maureen starred with some of Hollywood's most dashing leading men, including Tyrone Power, John Payne, Rex Harrison, James Stewart, Henry Fonda, Brian Keith, Sir Alec Guinness and, of course, her famed pairings with "The Duke" himself, John Wayne. She starred in five films with Wayne, the most beloved being The Quiet Man (1952).
In addition to famed director John Ford, Maureen was also fortunate to have worked for some other great directors in the business: Alfred Hitchcock, William Dieterle, Henry Hathaway, Henry King, Jean Renoir, John M. Stahl, William A. Wellman, Frank Borzage, Walter Lang, George Seaton, George Sherman, Carol Reed, Delmer Daves, David Swift, Andrew V. McLaglen and Chris Columbus.
In 1968 Maureen found much deserved personal happiness when she married Charles Blair. Gen. Blair was a famous aviator whom she had known as a friend of her family for many years. A new career began for Maureen, that of a full-time wife. Her marriage to Blair, however, was again far from typical. Blair was the real-life version of what John Wayne had been on the screen. He had been a Brigadier General in the Air Force, a Senior Pilot with Pan American, and held many incredible record-breaking aeronautic achievements. Maureen happily retired from films in 1973 after making the TV movie The Red Pony (1973) (which on the prestigious Peabody Award for Excellence) with Henry Fonda. With Blair, Maureen managed Antilles Airboats, a commuter sea plane service in the Caribbean. She not only made trips around the world with her pilot husband, but owned and published a magazine, "The Virgin Islander," writing a monthly column called "Maureen O'Hara Says."
Tragically, Charles Blair died in a plane crash in 1978. Though completely devastated, Maureen pulled herself together and, with memories of ten of the happiest years of her life, continued on. She was elected President and CEO of Antilles Airboats, which brought her the distinction of being the first woman president of a scheduled airline in the United States.
Fortunately, she was coaxed out of retirement several times - once in 1991 to star with John Candy in Only the Lonely (1991) and again, in 1995, in a made-for-TV movie, The Christmas Box (1995) on CBS. In the spring of 1998, Maureen accepted the second of what would be three projects for Polson Productions and CBS: Cab to Canada (1998) - and, in October, 2000, The Last Dance (2000).
On St. Patrick's Day in 2004, she published her New York Times bestselling memoir, 'Tis Herself, co-authored with her longtime biographer and manager Johnny Nicoletti.
On November 4, 2014 Maureen was honored by a long overdue Oscar for "Lifetime Achievement" at the annual Motion Picture Arts and Sciences Governors Awards.
Maureen O'Hara was absolutely stunning, with that trademark red hair, dazzling smile and those huge, expressive eyes. She has fans from all over the world of all ages who are utterly devoted to her legacy of films and her persona as a strong, courageous and intelligent woman.- Actress
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Ingrid Bergman was one of the greatest actresses from Hollywood's lamented Golden Era. Her natural and unpretentious beauty and her immense acting talent made her one of the most celebrated figures in the history of American cinema. Bergman is also one of the most Oscar-awarded actresses, tied with Meryl Streep and Frances McDormand, all three of them second only to Katharine Hepburn.
Ingrid Bergman was born on August 29, 1915 in Stockholm, Sweden, to a German mother, Frieda Henrietta (Adler), and a Swedish father, Justus Samuel Bergman, an artist and photographer. Her mother died when she was only two and her father died when she was 12. She went to live with an elderly uncle.
The woman who would be one of the top stars in Hollywood in the 1940s had decided to become an actress after finishing her formal schooling. She had had a taste of acting at age 17 when she played an uncredited role of a girl standing in line in the Swedish film Landskamp (1932) in 1932 - not much of a beginning for a girl who would be known as "Sweden's illustrious gift to Hollywood." Her parents died when she was just a girl and the uncle she lived with didn't want to stand in the way of Ingrid's dream. The next year she enrolled at the Royal Dramatic Theatre School in Stockholm but decided that stage acting was not for her. It would be three more years before she would have another chance at a film. When she did, it was more than just a bit part. The film in question was The Count of the Old Town (1935), where she had a speaking part as Elsa Edlund. After several films that year that established her as a class actress, Ingrid appeared in Intermezzo (1936) as Anita Hoffman. Luckily for her, American producer David O. Selznick saw it and sent a representative from Selznick International Pictures to gain rights to the story and have Ingrid signed to a contract. Once signed, she came to California and starred in United Artists' 1939 remake of her 1936 film, Intermezzo (1939), reprising her original role. The film was a hit and so was Ingrid.
Her beauty was unlike anything the movie industry had seen before and her acting was superb. Hollywood was about to find out that they had the most versatile actress the industry had ever seen. Here was a woman who truly cared about the craft she represented. The public fell in love with her. Ingrid was under contract to go back to Sweden to film Only One Night (1939) in 1939 and June Night (1940) in 1940. Back in the US she appeared in three films, all well-received. She made only one film in 1942, but it was the classic Casablanca (1942) opposite Humphrey Bogart.
Ingrid was choosing her roles well. In 1943 she was nominated for an Academy Award for her role in For Whom the Bell Tolls (1943), the only film she made that year. The critics and public didn't forget her when she made Gaslight (1944) the following year--her role of Paula Alquist got her the Oscar for Best Actress. In 1945 Ingrid played in Spellbound (1945), Saratoga Trunk (1945) and The Bells of St. Mary's (1945), for which she received her third Oscar nomination for her role of Sister Benedict. She made no films in 1947, but bounced back with a fourth nomination for Joan of Arc (1948). In 1949 she went to Italy to film Stromboli (1950), directed by Roberto Rossellini. She fell in love with him and left her husband, Dr. Peter Lindstrom, and daughter, Pia Lindström. America's "moral guardians" in the press and the pulpits were outraged. She was pregnant and decided to remain in Italy, where her son was born. In 1952 Ingrid had twins, Isotta and Isabella Rossellini, who became an outstanding actress in her own right, as did Pia.
Ingrid continued to make films in Italy and finally returned to Hollywood in 1956 in the title role in Anastasia (1956), which was filmed in England. For this she won her second Academy Award. She had scarcely missed a beat. Ingrid continued to bounce between Europe and the US making movies, and fine ones at that. A film with Ingrid Bergman was sure to be a quality production. In her final big-screen performance in 1978's Autumn Sonata (1978) she had her final Academy Award nomination. Though she didn't win, many felt it was the most sterling performance of her career. Ingrid retired, but not before she gave an outstanding performance in the mini-series A Woman Called Golda (1982), a film about Israeli prime minister Golda Meir. For this she won an Emmy Award as Best Actress, but, unfortunately, she did not live to see the fruits of her labor.
Ingrid died from cancer on August 29, 1982, her 67th birthday, in London, England.- Actress
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Betsy Drake was born on 11 September 1923 in Neuilly-sur-Seine, Hauts-de-Seine, France. She was an actress and writer, known for Every Girl Should Be Married (1948), Room for One More (1952) and The Second Woman (1950). She was married to Cary Grant. She died on 27 October 2015 in London, England, UK.- Actress
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On November 12, 1929, Grace Patricia Kelly was born in Philadelphia, Pennsylvania to wealthy parents. Her girlhood was uneventful for the most part, but one of the things she desired was to become an actress which she had decided on at an early age. After her high school graduation in 1947, Grace struck out on her own, heading to New York's bright lights to try her luck there. Grace worked some as a model and made her debut on Broadway in 1949. She also made a brief foray into the infant medium of television. Not content with the work in New York, Grace moved to Southern California for the more prestigious part of acting -- motion pictures. In 1951, she appeared in her first film entitled Fourteen Hours (1951) when she was 22. It was a small part, but a start nonetheless. The following year she landed the role of Amy Kane in High Noon (1952), a western starring Gary Cooper and Lloyd Bridges which turned out to be very popular. In 1953, Grace appeared in only one film, but it was another popular one. The film was Mogambo (1953) where Grace played Linda Nordley. The film was a jungle drama in which fellow cast members, Clark Gable and Ava Gardner turned in masterful performances. It was also one of the best films ever released by MGM. Although she got noticed with High Noon, her work with director Alfred Hitchcock, which began with Dial M for Murder (1954) made her a star. Her standout performance in Rear Window (1954) brought her to prominence. As Lisa Fremont, she was cast opposite James Stewart, who played a crippled photographer who witnesses a murder in the next apartment from his wheelchair. Grace stayed busy in 1954 appearing in five films. Grace would forever be immortalized by winning the Academy Award for Best Actress for her portrayal of Georgie Elgin opposite Bing Crosby in The Country Girl (1954). In 1955, Grace once again teamed with Hitchcock in To Catch a Thief (1955) co-starring Cary Grant. In 1956, she played Tracy Lord in the musical comedy High Society (1956) which also starred Frank Sinatra and Bing Crosby. The whimsical tale ended with her re-marrying her former husband, played by Crosby. The film was well received. It also turned out to be her final acting performance. Grace had recently met and married Prince Rainier of the little principality of Monaco. By becoming a princess, she gave up her career. For the rest of her life, she was to remain in the news with her marriage and her three children. On September 14, 1982, Grace was killed in an automobile accident in her adoptive home country. She was just 52 years old.- Actress
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Audrey Hepburn was born as Audrey Kathleen Ruston on May 4, 1929 in Ixelles, Brussels, Belgium. Her mother, Baroness Ella Van Heemstra, was a Dutch noblewoman, while her father, Joseph Victor Anthony Ruston, was born in Úzice, Bohemia, to English and Austrian parents.
After her parents' divorce, Audrey went to London with her mother where she went to a private girls school. Later, when her mother moved back to the Netherlands, she attended private schools as well. While she vacationed with her mother in Arnhem, Netherlands, Hitler's army took over the town. It was here that she fell on hard times during the Nazi occupation. Audrey suffered from depression and malnutrition.
After the liberation, she went to a ballet school in London on a scholarship and later began a modeling career. As a model, she was graceful and, it seemed, she had found her niche in life--until the film producers came calling. In 1948, after being spotted modeling by a producer, she was signed to a bit part in the European film Nederlands in zeven lessen (1948). Later, she had a speaking role in the 1951 film, Young Wives' Tale (1951) as Eve Lester. The part still wasn't much, so she headed to America to try her luck there. Audrey gained immediate prominence in the US with her role in Roman Holiday (1953). This film turned out to be a smashing success, and she won an Oscar as Best Actress.
On September 25, 1954, she married actor Mel Ferrer. She also starred in Sabrina (1954), for which she received another Academy Award nomination. She starred in the films Funny Face (1957) and Love in the Afternoon (1957). She received yet another Academy Award nomination for her role in The Nun's Story (1959). On July 17, 1960, she gave birth to her first son, Sean Hepburn Ferrer.
Audrey reached the pinnacle of her career when she played Holly Golightly in Breakfast at Tiffany's (1961), for which she received another Oscar nomination. She scored commercial success again playing Regina Lampert in the espionage caper Charade (1963). One of Audrey's most radiant roles was in the fine production of My Fair Lady (1964). After a couple of other movies, most notably Two for the Road (1967), she hit pay dirt and another nomination in Wait Until Dark (1967).
In 1967, Audrey decided to retire from acting while she was on top. She divorced from Mel Ferrer in 1968. On January 19, 1969, she married Dr. Andrea Dotti. On February 8, 1970, she gave birth to her second son, Luca Dotti in Lausanne, Vaud, Switzerland. From time to time, she would appear on the silver screen.
In 1988, she became a special ambassador to the United Nations UNICEF fund helping children in Latin America and Africa, a position she retained until 1993. She was named to People's magazine as one of the 50 most beautiful people in the world. Her last film was Always (1989).
Audrey Hepburn died, aged 63, on January 20, 1993 in Tolochnaz, Vaud, Switzerland, from appendicular cancer. She had made a total of 31 high quality movies. Her elegance and style will always be remembered in film history as evidenced by her being named in Empire magazine's "The Top 100 Movie Stars of All Time".- Actress
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Miiko Taka came into the world as Betty Miiko Shikata in Seattle, Washington, a Nisei born of Japanese immigrant parentage. She spent much of her upbringing in Los Angeles. In 1942, Betty and her family were removed from their homes and interned in the Gila River War Relocation Centre in Arizona, a concentration camp which had been set up following Japan's attack on Pearl Harbour. One of her fellow detainees was the actor Pat Morita. Betty's internee file described her as a semi-skilled dressmaker and seamstress and suggested stenographer or typist as 'potential occupations'. Little is known of Betty's life prior to her debut in Joshua Logan's Sayonara (1957) , except that she had no prior acting experience and was employed as a clerk at a travel agency in L.A..
The role of Hana-Ogi, the celebrated Matsubayashi dancer who defies tradition by having a secret affair with an American pilot (Marlon Brando), had originally been earmarked for Audrey Hepburn. When Hepburn turned it down, Logan cast the unknown Miiko Taka in the part. Sayonara ultimately grossed $ 10.5 million and won four Oscars, including one for co-star Miyoshi Umeki as Best Supporting Actress. Miiko's performance was lauded by Variety and by Bosley Crowther of the New York Times who described her as "a flute-like beauty - a really lovely, serene and soothing impulse".
In the wake of Sayonara, Miiko was cast as a geisha opposite Glenn Ford in Cry for Happy (1961), a predictable comedy about the assorted romantic affairs of four G.I.'s on leave in Japan during the Korean War. She had further high profile roles in Operation Bottleneck (1961) (as a girl guerrilla), A Global Affair (1964) (with Bob Hope), The Art of Love (1965) (with James Garner) and Walk Don't Run (1966) (with Cary Grant in his last film appearance). On television, she was mostly typecast amid exotic backgrounds in such escapist entertainments as Hawaiian Eye (1959), Adventures in Paradise (1959), I Spy (1965) and The Man from U.N.C.L.E. (1964). Her penultimate screen appearance was as a Japanese noblewoman in James Clavell's miniseries Shogun (1980).
Miiko Taka was thrice married. Her first husband was the actor Dale Ishimoto with whom she had a son and a daughter.- Patricia Owens was born in Golden, British Columbia, in 1925. When she was eight she moved to England, where she embarked on a number of stage plays. Later she was spotted by a Twentieth Century-Fox executive, who offered her a contract, and in 1956 she went to Hollywood. There she met Sy Bartlett, whom she married and later divorced in 1958. Warner Brothers spotted her acting abilities in the classic "Island in the Sun" and in 1957 asked Fox if she could be loaned out for a part in the Marlon Brando classic "Sayonara". She received kudos in that film for her performance as the distraught, scorned fiancée of Brando. It was not until 1958, though, when she achieved her greatest role, as the tormented Helene Delambre in the Fox classic "The Fly". The image of her as seen through the fly's compound eyes is considered one of the classic moments in the history of science fiction films. It was during the time that "The Fly" was being made that she was trying to reconcile with Bartlett, but it did not happen. Patricia went on to play in other films, but did not achieve the status she deserved and continued to star in B Pictures and television roles. In 1960 she married real estate developer Jerome "Jerry" Nathanson. The marriage was short-lived but produced Patricia's only child, Adam, who helped with this biography. Patricia was also married to John Austin for six years, from 1969 to 1975. Sadly, she died in 2000 from cancer.
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Anna May Wong, the first Chinese-American movie star, was born Wong Liu Tsong on January 3, 1905, in Los Angeles, California, to laundryman Wong Sam Sing and his wife, Lee Gon Toy. A third-generation American, she managed to have a substantial acting career during a deeply racist time when the taboo against miscegenation meant that Caucasian actresses were cast as "Oriental" women in lead parts opposite Caucasian leading men. Even when the role called for playing opposite a Caucasian in yellowface, as with Paul Muni's as the Chinese peasant Wang Lung in The Good Earth (1937), Wong was rejected, since she did not fit a Caucasian's imagined ideal look for an Asian woman. The discrimination she faced in the domestic industry caused her to go to Europe for work in English and German films. Her name, which she also spelled Wong Lew Song, translates literally as "Frosted Yellow Willows" but has been interpreted as "Second-Daughter Yellow Butterfly." Her family gave her the English-language name Anna May. She was born on Flower Street in downtown Los Angeles in an integrated neighborhood dominated by Irish and Germans, one block from Chinatown, where her father ran the Sam Kee Laundry.
The Wong family moved back to Chinatown two years after Liu Tsong's birth, but in 1910 they uprooted themselves, moving to a nearby Figueroa Street neighborhood where they had Mexican and East European neighbors. There were two steep hills between the Wongs' new home and Chinatown, but as her biographer, Colgate University history professor Graham Russell Gao Hodges, points out, those hills put a psychological as well as physical distance between Liu Tsong and Chinatown. Los Angeles' Chinatown already was teeming with movie shoots when she was a girl. She would haunt the neighborhood nickelodeons, having become enraptured with the early "flickers." Though her traditional father strongly disapproved of his daughter's cinephilia, as it deflected her from scholastic pursuits, there was little he could do about it, as Liu was determined to be an actress. The film industry was in the midst of relocating from the East Coast to the West, and Hollywood was booming. Liu Tsong would haunt movie shoots as she had earlier haunted the nickelodeons. Her favorite stars were Pearl White, of The Perils of Pauline (1914) serial fame, and White's leading man, Crane Wilbur. She was also fond of Ruth Roland.
Educated at a Chinese-language school in Chinatown, she would skip school to watch film shoots in her neighborhood. She made tip money from delivering laundry for her father, which she spent on going to the movies. Her father, if he discovered she had gone to the movies during school hours, would spank her with a bamboo stick. Around the time she was nine years old, she began begging filmmakers for parts, behavior that got her dubbed "C.C.C." for "curious Chinese child."
Liu Tsong's first film role was as an uncredited extra in Metro Pictures' The Red Lantern (1919), starring Alla Nazimova as a Eurasian woman who falls in love with an American missionary. The film included scenes shot in Chinatown. The part was obtained for her by a friend of her father's (without his knowledge) who worked in the movie industry. Retaining the family surname "Wong" and the English-language "Christian" name bestowed on her by her parents, Liu Tsong Americanized herself as "Anna May Wong" for the movie industry, though she would not receive an on-screen credit for another two years.
The rechristened Anna May Wong appeared in bit parts in movies starring Priscilla Dean, Colleen Moore and the Japanese-born Sessue Hayakawa, the first Asian star of American movies. Due to her father's demands, she had an adult guardian at the studio, and would be locked in her dressing room between scenes if she was the only Asian in the cast. Initially balancing school work and her budding film career, she eventually dropped out of Los Angeles High School to pursue acting full time. She was aided by the fact that, though still a teenager, she looked more mature than her real age.
Director Marshall Neilan cast the teenage Anna May in a bit part in his film Dinty (1920), then gave her her first credited role in the "Hop" sequence of Bits of Life (1921), the American movie industry's first anthology film. In "Hop" Wong played Toy Ling, the abused wife of Lon Chaney's character Chin Gow, which the Man of a Thousand Faces played in yellowface. She next appeared in support of John Gilbert in Fox's Shame (1921) before being cast in her first major role at the age of 17, the lead in The Toll of the Sea (1922). She played Lotus Flower in this adaptation of the opera "Madame Butterfly," which moved the action from Japan to China. "The Toll of the Sea" was the first feature film shot entirely in Technicolor's two-strip color process. By appearing top-billed in this romantic melodrama, Anna became the first native-born Asian performer to star in a major Hollywood movie. Most portrayals of Asian women were done by Caucasian actresses in "yellow-face," such as the 1915 Madame Butterfly (1915) starring "America's Sweetheart" Mary Pickford (who was born in Toronto, Canada) in the title role. In "The Toll of the Sea," Anna May's character perpetuates the stereotype of the Asian "lotus blossom," a self-sacrificial woman who surrenders her life for the love of a Caucasian man. The film was a hit, and it showcased Wong in a preternaturally mature and restrained performance. This breakthrough should have launched Anna May Wong as a star, but for one thing: She was Chinese in a country that excluded (by law) Chinese from emigrating to the US, that forbade (by law) Chinese from marrying Caucasians and that generally excluded (by law or otherwise) Chinese from the culture at large, except for bit roles as heavies in the national consciousness.
"The Toll of the Sea" made Anna May Wong a known, and thus a marketable, commodity in Hollywood. She became the #1 actress when a young Asian female part had to be cast, but unfortunately lead roles for Asians were few and far between. Instead of becoming a star, this beautiful woman with a complexion described as "a rose blushing through old ivory" continued to be stuck in supporting roles, as in Tod Browning's melodrama Drifting (1923) and the western Thundering Dawn (1923). She even played an Eskimo in The Alaskan (1924). She appeared as Tiger Lily, "Chieftainess of the Indians," in Paramount's prestigious production of J.M. Barrie's Peter Pan (1924), but the role was very small (the film was shot on Santa Catalina Island, where the cast stayed during the production.
The 170-cm-tall (5'7", although other sources cite her height as 5'4½") beauty was known as the world's best-dressed woman and widely considered to have the loveliest hands in the cinema. Her big breakthrough after her auspicious start with "The Toll of the Sea" finally came when Douglas Fairbanks cast her in a supporting role as a treacherous Mongol slave in his Middle Eastern/Arabian Nights extravaganza The Thief of Bagdad (1924). The $2-million blockbuster production made her known to critics and the movie-going public. For better or worse, a star, albeit of the stereotypical "Dragon Lady" type, was born.
Despite her waxing fame, she was limited to supporting roles, as Caucasian actresses, including most improbably Myrna Loy, continued to be cast as Asian women in lead roles from the 1920s through the 1940s, despite the ready availability of Anna May Wong. She was unable to attract lead parts despite her beauty and proven acting talent, even in films featuring Asian women, but she did carve out a career as a supporting player in everything from A-list movies to two-reel comedies and serials. The characters she played typically were duplicitous or murderous vamps who often reaped the wages of their sin by being raped. It was a demeaning apprenticeship that most Caucasian actresses did not have to go through. Anna wanted was to play modern American women all through her career but was thwarted because of racism. Later, when she journeyed to Europe to escape the typecasting of Hollywood, she told journalist Doris Mackie, "I was so tired of the parts I had to play. Why is it that the screen Chinese is always the villain? And so crude a villain--murderous, treacherous, a snake in the grass."
Wong embodied the Caucasian ideal of a foreign exotic beauty, an alien presence despite her American citizenship. The movie magazine "Pictures" published a memoir of hers in 1926 in which she complained, "A lot of people, when they first meet me, are surprised that I speak and write English without difficulty. But why shouldn't I? I was born right here in Los Angeles and went to the public schools here. I speak English without any accent at all. But my parents complain that the same cannot be said of my Chinese. Although I have gone to Chinese schools, and always talk to my father and mother in our native tongue, it is said that I speak Chinese with an English accent!". Many Chinese-Americans considered themselves "Chinese in America," an attitude bolstered by the anti-Chinese, anti-Asian attitude of the US government and the American culture. In her memoir, Wong referred to herself as "Chinese" or "Americanized Chinese," but not as an "American" or "Chinese-American."
Anna May Wong appeared as a dancer in a play within a movie shot in Technicolor for the Ronald Colman vehicle His Supreme Moment (1925), but her Hollywood output generally was undistinguished. In 1926 she seems to have appeared in a "race" film made by Chinese-Americans for a Chinese-American audience, The Silk Bouquet (1926) (aka "The Dragon Horse"). Moving between Poverty Row and the majors, she appeared again with Lon Chaney in Mr. Wu (1927) at MGM and with Warner Oland and Dolores Costello in Old San Francisco (1927) at Warner Brothers. Warners also cast her in support of Oriental yellowface queen Myrna Loy in The Crimson City (1928). Despite her WASP looks and red hair, Loy in Chinese yellowface had become a major "Oriental" star in American films desiring an exotic element. This indignity may have been what pushed Wong to seek her future somewhere other than Hollywood.
She moved to Europe in 1928, where she made movies in the UK and Germany. She made her debut on the London stage with the young up-and-coming Laurence Olivier in the play "The Circle of Chalk." After receiving a drubbing for her voice and singing from the London critics, she paid a Cambridge University tutor to improve her speech, with the result that she acquired an upper-crust English accent. Later she appeared in Vienna, Austria, in the play "Springtime."
European directors appreciated Wong's unique talents and beauty, and they used her in ways that stereotype-minded Hollywood, hemmed in by American prejudice, would not or could not. Moving to Germany to appear in German films, she became acquainted with German film personalities, including Marlene Dietrich and actress-filmmaker Leni Riefenstahl. She learned German and French and began to develop a continental European attitude and outlook. In Europe she was welcomed as a star. According to her biographer Graham Russell Gao Hodges, Wong hobnobbed with "an intellectual elite that included princes, playwrights, artists and photographers who clamored to work with her." Anna May Wong was featured in magazines all over the world, far more than actresses of a similar level of accomplishment. She became a media superstar, and her coiffure and complexion were copied, while "coolie coats" became the rage. According to Hodges, "[S]he was the one American star who spoke to the French people, more than Greta Garbo, Joan Crawford or Mary Pickford, the top American actresses of the time." But, ironically, "[S]he's the one who's now forgotten." Wong was cast in Ewald André Dupont's silent film Piccadilly (1929) as a maid who is fired from her job at a London nightclub after dancing on top of a table, then rehired as a dancer to infuse the club with exotic glamour. Her first talkie was The Flame of Love (1930) (aka "The Road to Dishonour", although some sources claim it was "Song" aka "Wasted Love" in that same year), which was released by British International Pictures. In a time before dubbing, when different versions of a single film were filmed in different languages, Wong played in the English, French and German versions of the movie.
Paramount Pictures offered her a contract with the promise of lead roles in major productions. Returning to the US in 1930, Wong appeared on Broadway in the play "On the Spot." It was a hit, running for 167 performances, and she moved on to Hollywood and Paramount, where she starred in an adaptation of Sax Rohmer's novel "Daughter of Fu Manchu" called Daughter of the Dragon (1931). She was back in stereotype-land, this time as the ultimate "Dragon Lady," who with her father Fu Manchu (played by ethnic Swede Warner Oland, the future Charlie Chan) embodied the evil "Yellow Peril." While "Daughter of the Dragon" may have been B-movie pulp, it enabled Wong to show off her talent by delivering a powerful performance.
Her best role in Hollywood in the early 1930s was in support of Marlene Dietrich in Josef von Sternberg's Oscar-winning classic Shanghai Express (1932). However, Hollywood in the 1930s was as racist as it had been in the Roaring Twenties, and MGM refused to cast her in its 1932 production of The Son-Daughter (1932), for which she did a screen-test, as she was "too Chinese to play a Chinese." Helen Hayes played the role in yellow-face. Similarly, she was later kept out of both a lead and supporting role in MGM's prestige production of The Good Earth (1937), its filming of Pearl S. Buck's popular novel, after flunking another screen test for failing to live up to a white man's idea of what "looked" Chinese. MGM screen-tested her for the lead role of O-Lan, the sympathetic wife of Chinese farmer Wang Lung (to be played by Paul Muni, personally cast in the part by Irving Thalberg). She also was considered for the supporting role of Lotus, Wang Lung's concubine. Anna, an ethnic Chinese, lost out on both roles to two Austrian women, Luise Rainer and Tilly Losch, as Albert Lewin, the Thalberg assistant who was casting the film, vetoed Wong and other ethnic Chinese because their looks didn't fit his conception of what Chinese people should look like. Ironically, the year "The Good Earth" came out, Wong appeared on the cover of Look Magazine's second issue, which labeled her "The World's Most Beautiful Chinese Girl." Stereotyped in America as a dragon lady, the cover photo had her holding a dagger. Luise Rainer would win the Best Actress Oscar for her performance of O-Lan in Chinese yellowface.
There were practical considerations for MGM's refusal to cast Wong opposite Muni. It was illegal in many states, including California, for Asians to marry Caucasians, and featuring an interracial couple, even if they were playing the same race, likely would mean the movie would be rejected by many theater chains in regions in which anti-Asian prejudice was particularly severe, such as the South. The new Motion Picture Production Code of 1934 forbid black/white miscegenation and MGM did cast Walter Connelly (a white actor) opposite Soo Yong (a Chines-American actress) as a married couple. Anna May returned to England, reportedly distraught at the injustice perpetrated by MGM and her home country. In England she alternated between films and the stage, but she was obliged to return to the US to fulfill her Paramount contract. She appeared in two Robert Florey-directed pictures, Daughter of Shanghai (1937) as a non-stereotypical Asian-American female lead, and Dangerous to Know (1938). She also appeared in major roles in King of Chinatown (1939) and Island of Lost Men (1939).
Anna May Wong did not appear in films from 1939-41, when she was cast as a supporting player in Ellery Queen's Penthouse Mystery (1941), an entry in the B-movie series. Her last two starring roles in films were in a pair of anti-Japanese propaganda films, Bombs Over Burma (1942) and Lady from Chungking (1942), both of which were made by Producers Releasing Corp., the lowest of the Poverty Row studios. The major studios, when shooting propaganda films requiring a sympathetic Asian lead, reverted to the old practice of casting Caucasians in yellow-face, no matter how absurd the result.
As her movie career went into eclipse in the 1940s (she would not appear in another motion picture until 1949), she found work on the stage and in radio and then in the new medium of television. Wong wrote a preface to the book "New Chinese Recipes" in 1942, which was one of the first Chinese cookbooks printed in the US. The proceeds from the cookbook were dedicated to United China Relief.
Though Wong was vocal in her opposition to stereotypes and typecasting, and was one of Hollywood's more memorable victims of racism in being denied leading roles in A-list pictures because the racist mores of the times prevented an Asian woman from kissing a Caucasian actor, she was considered socially suspect by her own people. The roles she was forced to accept in order to have an acting career, as well as her status as a single woman, disgusted many Chinese in America and in her ancestral homeland, where actresses were equated with prostitutes and where women were still played by men in classical opera. On a trip to China in 1936, Anna May was welcomed by the country's cultural elite in cosmopolitan Beijing and Shanghai, but she had to abandon a trip to her parents' ancestral village when her progress was blocked by a crowd of protesters. Someone in the crowed denounced her with "Down with Huang Liu Tsong, the stooge that disgraces China. Don't let her go ashore." Upon her return from China, Wong was determined to play Chinese characters more authentically, but her only options were to reject roles she deemed racist or to try to soften them from within the belly of the beast. Ultimately for this proud woman, it was a losing battle.
Chinese nationalism had been on the upswing since Yat-sen Sun ended the Manchu Empire in 1911 and was rife in reaction to the war of aggression launched against China by the Empire of Japan. Chinese nationalists, concerned about the portrayal of Chinese people as evil incarnate in American popular culture, were offended by Wong's portrayals of Asians and exotics. Though she would spend the World War II years working for Chinese charities and relief agencies, she was snubbed by Madame Chiang, the sister-in-law of Yat-sen Sun and wife of Kai-Shek Chiang, the army general who led the Nationalist Chinese, during Madame Chiang's 1942-43 propaganda tour of the US. Her biographer Hodges claims this was the beginning of a consensus among Chinese and Chinese-Americans that Wong was an embarrassment. Chinese and Chinese-Americans chose to blame her rather than Hollywood for the demeaning stereotypes she had to play in order to work. The result of this new consensus, according to Hodges, was that "her memory has been washed away."
Anna May's career in motion pictures was virtually finished after the war. She got her own TV series, The Gallery of Madame Liu-Tsong (1951), on the Dumont Network, playing a Chinese detective in a role written expressly for her, a character who was even given her real Chinese name. The half-hour program, which ran weekly from August 27 to November 21, 1951, was the first TV show to star an Asian-American.
Wong's personal relationships typically were with older Caucasian men, but California law forbade marriage between Asians and Caucasians until 1948. One of her white lovers offered to marry her in Mexico, but the couple's intentions became known and he backed off when his Hollywood career was jeopardized. Wong mused about marrying a Chinese man at times, but the Chinese culture held actresses to be on a par with prostitutes, which made her suspect marriage material. She was afraid that the mores of her culture likely meant that marrying a Chinese would force her to quit her career and be an obedient wife.
Anna May Wong appeared in over 50 American, English and German films in her career, making her the first global Chinese-American movie star. She was forced to fight against racism and stereotyping all her professional life, while simultaneously being criticized by Chinese at home and abroad for perpetuating stereotypes in the media. Despite this tremendous burden, the beautiful woman assayed an elegance and sophistication on-screen that made her the paradigm of Asian women for a generation of movie audiences.
Anna May Wong loved reading, and her favorite subjects spanned a wide range, everything from Asian history and Tzu Lao to William Shakespeare. She never married but occupied her time with golf, horses, and skiing. Wong smoked, drank too much, and suffered from depression. She was poised to make a comeback as a character actress on the big screen toward the end of her life, having appeared as Lana Turner's maid in Ross Hunter's sudsy potboiler Portrait in Black (1960). She was cast in the role of Madame Liang in Flower Drum Song (1961), the movie version of Richard Rodgers's and Oscar Hammerstein II's Broadway musical "Flower Drum Song," but before shooting could begin she passed away.
Anna May Wong died of a massive heart attack on February 3, 1961, in Santa Monica, CA, after a long struggle against Laennec's cirrhosis, a disease of the liver. She was 56 years old. Her fame lives on, four decades after her death. She is a part of American popular consciousness, chosen as one of the first movie stars to be featured on a postage stamp. And the interest in her continues: a play about Anna entitled "China Doll--The Imagined Life of an American Actress," written by Elizabeth Wong, had its premiere at Maine's Bowdoin College in 1997. A lecture and film series, "Rediscovering Anna May Wong," was held at the UCLA Film and Television Archive in 2004, sponsored by "Playboy" publisher Hugh Hefner. That same year New York City's Museum of Modern Art held its own tribute to Wong, "Retrospective of a Chinese-American Screen Actress." Finally she was getting the respect in her own country that was denied her during her career.
A biography by Colgate University history professor Graham Russell Gao Hodges, "Anna May Wong: From Laundryman's Daughter to Hollywood Legend," was published by Palgrave Macmillan in 2004. Hodges considers Anna May's life and career to be amazing, particularly in light of the fact that her star has yet to be eclipsed by any other Asian-American female star, despite the change in attitudes. Finally, in 2004, the British Film Institute restored E.A. Dupont's 1929 silent film "Piccadilly".- The actress was born Marilyn Watts in Santa Monica, California, 17 years before she put her foot on the bottom step of the show biz ladder, dancing in the back row of the chorus in "Earl Carroll's Revue" at the famed showman's theater-restaurant in Hollywood. Modeling for photographers led to wider exposure and ultimately to TV roles and bit parts in low-budget movies. As a Universal-International contract player, she was in most every type of B picture that the studio made. She gave up acting in the early '60s to concentrate on marriage and motherhood during 17 tumultuous years as the wife of actor Richard Long. Since his 1974 death, she's played supporting parts in her friend Clint Eastwood's movies, just as he played a supporting role in one of hers (Tarantula (1955)).
- A talented and personable B-movie actress, Teala Loring was born in Denver, Colorado, as Marcia Eloise Griffin, one of five siblings. Two of her sisters were actresses Debra Paget and Lisa Gaye. Her mother was a vaudeville dancer, comedienne and nightclub singer who billed herself as Marguerite "Maggie" Gibson. Marcia grew up in a show business environment and made her first foray to the stage at the age of three. At 17, her family moved permanently to California and the following year Marcia became a Paramount starlet under the name Judith Gibson. As it turned out, there already was a Judith Gibson on the lot and producer Irwin Allen's suggestion of a change of moniker to a rarely used "good Irish name" (that being 'Teala') was happily accepted.
Like so many other aspiring ingénues, Teala ran the usual gamut of ornamental bit parts in films like Holiday Inn (1942), The Powers Girl (1943) and Double Indemnity (1944). She had a brief furlough, though, when Paramount dispatched her to act on Broadway for a stint in Let's Face It with Danny Kaye. By 1944, she had made the decision not to renew her contract. Thus began the uneasy transition to Poverty Row and appearances in genre films for the likes of Sam Katzman's Banner Pictures, PRC and Monogram. She was third and fifth-billed, respectively, still on loan-out from Paramount, in Delinquent Daughters (1944) and Return of the Ape Man (1944) (with Bela Lugosi). After that, Teala found a (by her own admission) comfortable niche in assorted franchises ranging from the Bowery Boys to Charlie Chan and the Cisco Kid. She joined fading star Kay Francis in Allotment Wives (1945) and appeared in the lurid Black Market Babies (1945), which publicity touted as "an exciting tale of crime and corruption". Towards the end of her career, she also made two westerns despite being wary of horses.
Having retired from acting in 1950, she commenced raising a rather large family of six children, eventually added to by fifteen grandchildren. Teala died in 2007 from injuries sustained in a traffic collision at the age of 84. - Fiery, dark-haired, exotic-looking Donna Martell was born of Italian ancestry Irene Palma de Maria, the daughter of a master tailor for a major clothing manufacturing company. She attended L.A. City College where she excelled at athletics, especially baseball. During this time, Donna was persuaded by a classmate to audition for a theatrical agent from the Donaldson-Middleton Agency. At just 17 years of age, she was "signed on the spot" by Republic Studios to appear in as an ingénue alongside Roy Rogers and Dale Evans in the western Apache Rose (1947).
Initially billed as Donna DeMario, she went on to receive steady offers to work in westerns, due in no small part to her equestrian skills (she owned a Palomino named Pal, stabled at the San Bernardino Orange Ranch). Though wooed by three of the majors (MGM, 20th Century Fox and Warner Brothers), Donna opted to sign with Universal-International. However, after two years, she became dissatisfied with the meager roles offered her and she decided to go freelance, in due course establishing herself as a prolific and capable television actress. Often cast as south-of-the-border senoritas, she played leads opposite most of the famous western leading men of the era, including Gene Autry, Randolph Scott, Dale Robertson (Tales of Wells Fargo (1957)), Gene Barry (Bat Masterson (1958)) and Clint Walker (Cheyenne (1955)). In 2002, Donna won the Golden Boot Award for her contribution to the western genre.
In addition to her sagebrush heroines, Donna also played an Indian princess in Last Train from Bombay (1952) and Jennifer Jones's sister in the lavishly produced romantic A-grader Love Is a Many-Splendored Thing (1955). In retrospect, she may wish to forget her role as the commander of a spacecraft in the rare sci-fi feature Project Moon Base (1953), filmed in ten days (!) on a shoestring budget at the old Hal Roach studio in Culver City. Her character in this dreadful (and, indeed, misogynistic) picture was called Colonel Briteis (pronounced 'Bright Eyes'). Its sole saving grace was brevity (63 minutes).
In a later interview, Donna asserted that she had never socialized with her male co-stars, "unless it was for publicity". From 1953, she was married to the baseball player Gene Corso (of the Pittsburgh Pirates) who died in 1996.
Donna's acting career came to an end in 1963, though she continued to appear in some TV commercials. For several years, she ran her own business, selling floor coverings. Later still, she became a frequent attendee at film festivals and conventions. - Actress
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Her father was a police lieutenant and imbued in her a military attitude to life. Marlene was known in school for her "bedroom eyes" and her first affairs were at this stage in her life - a professor at the school was terminated. She entered the cabaret scene in 1920s Germany, first as a spectator then as a cabaret singer. In 1923, she married and, although she and Rudolf Sieber lived together only 5 years, they remained married until his death. She was in over a dozen silent films in increasingly important roles. In 1929, she was seen in a Berlin cabaret by Josef von Sternberg and, after a screen test, captured the role of the cabaret singer in The Blue Angel (1930) (and became von Sternberg's lover). With the success of this film, von Sternberg immediately took her to Hollywood, introducing her to the world in Morocco (1930), and signing an agreement to produce all her films. A series of successes followed, and Marlene became the highest paid actress of her time, but her later films in the mid-part of the decade were critical and popular failures. She returned to Europe at the end of the decade, with a series of affairs with former leading men (she had a reputation of romancing her co-stars), as well as other prominent artistic figures. In 1939, an offer came to star with James Stewart in a western and, after initial hesitation, she accepted. The film was Destry Rides Again (1939) - the siren of film could also be a comedienne and a remarkable comeback was reality. She toured extensively for the allied effort in WW II (she had become a United States citizen) and, after the war, limited her cinematic life. But a new career as a singer and performer appeared, with reviews and shows in Las Vegas, touring theatricals, and even Broadway. New success was accompanied by a too close acquaintance with alcohol, until falls in her performance eventually resulted in a compound fracture of the leg. Although the last 13 years of her life were spent in seclusion in her apartment in Paris, with the last 12 years in bed, she had withdrawn only from public life and maintained active telephone and correspondence contact with friends and associates.- Jeanne Carmen spent her early childhood in Paragould, Arkansas with her family picking cotton. At age 13, she ran away from home, eventually landing in New York City and taking a job as a dancer in an off-Broadway touring company. The early 1950s found her in Las Vegas, Nevada, in the company of the likes of mobster Johnny Roselli. She discovered she had a natural talent for the game of golf and made great hay and much money hustling on the links. In the early 1950s, she turned her back on the game of golf and went to Hollywood, where she was often in the company of some of that town's most notable swingers, men like Elvis Presley, Frank Sinatra and many others. She also maintained a close relationship with Marilyn Monroe. Jeanne never made it into the "big" movies but appeared in many "B" pictures, and was quite an item at the celebrity parties. After the death of her close friend Monroe, Carmen dropped out of sight and resided in Arizona for over a decade. On December 20, 2007, Jeanne Carmen died at age 77 from lymphoma at her Orange County, California home, where she resided since 1978.
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Of Irish, English, and Scottish descent, Maureen Paula O'Sullivan was born on May 17, 1911 in Boyle, County Roscommon, Ireland. Her father was Charles Joseph O'Sullivan, an officer in the Connaught Rangers, and his wife, the former Mary Fraser (or Frazer). She was educated at Catholic schools in Dublin, Paris, and London (Convent of the Sacred Heart, Roehampton, where a fellow student was fellow future actress Vivien Leigh). Even as a schoolgirl, Maureen desired an acting career, despite her father's initial opposition. She studied hard and read widely. When the opportunity to be an actress came along, it almost dropped in her lap. American film director Frank Borzage was in Dublin in 1929, filming Song o' My Heart (1930), when the 18 year old met him. He suggested a screen test, which she took. The results were more than favorable and she won the substantial role of Eileen O'Brien, then went to Hollywood to complete filming.
Once in sunny California, Maureen wasted no time landing roles in other films such as Just Imagine (1930), The Princess and the Plumber (1930), and So This Is London (1930). She was perhaps MGM's most popular ingenue throughout the 1930s in a number of non-Tarzan vehicles. In 1932, she teamed up with Olympic medal winner Johnny Weissmuller for the first time in Tarzan the Ape Man (1932), as Jane Parker. Five other Tarzan films followed, the last being Tarzan's New York Adventure (1942). The Tarzan epics rank as one of the most memorable series ever made. Most people agree that those movies would not have been as successful as they were, had it not been for the talent, grace, and radiant beauty of O'Sullivan. But she was more than Jane Parker. She went on to roles in such films as The Flame Within (1935), David Copperfield (1935), and Anna Karenina (1935). She turned in another fine performance in Pride and Prejudice (1940). After the 1940s, however, she made fewer films, primarily for personal reasons, i.e. caring for her large family.
It isn't always easy to walk away from a lucrative career, but O'Sullivan did because she wanted to devote more time to her husband, John Farrow, an Australian-American writer, and their seven children: Michael, Patrick, Maria (a.k.a. Mia Farrow), John, Prudence, Theresa (a.k.a. Tisa Farrow), and Stephanie Farrow. The couple were married from 1936 until his death in 1963. After her last Tarzan venture she asked for release from her contract to care for her husband who had just left the U.S. Navy with typhoid. She did not retire completely and still found time to make occasional movies and television programs, as well as operate a bridal consulting service (Wediquette International).
O'Sullivan made her Broadway debut opposite Paul Ford in "Never Too Late" (November 27, 1962-April 24, 1965), a great success. She would appear on Broadway again in various vehicles through 1981, and later also co-produced two Broadway productions. Later movie patrons remember her as Elizabeth Alvorg in Peggy Sue Got Married (1986) (playing opposite fellow silver screen film veteran Leon Ames). Her final celluloid role was in The River Pirates (1988). Some made-for-television movies followed and she retired completely in 1996, two years before her death in Scottsdale, Arizona on June 23, 1998 during heart surgery. She was 87 years old.- Actress
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Lana Turner had an acting ability that belied the "Sweater Girl" image MGM thrust upon her, and even many of her directors admitted that they knew she was capable of greatness (check out The Postman Always Rings Twice (1946)). Unfortunately, her private life sometimes overshadowed her professional accomplishments.
Lana Turner was born Julia Jean Mildred Francis Turner in Wallace, Idaho. There is some discrepancy as to whether her birth date is February 8, 1920 or 1921. Lana herself said in her autobiography that she was one year younger (1921) than the records showed, but then this was a time where women, especially actresses, tended to "fib" a bit about their age. Most sources agree that 1920 is the correct year of birth. Her parents were Mildred Frances (Cowan) and John Virgil Turner, a miner, both still in their teens when she was born. In 1929, her father was murdered and it was shortly thereafter her mother moved her and the family to California where jobs were "plentiful". Once she matured into a beautiful young woman, she went after something that would last forever: stardom. She wasn't found at a drug store counter, like some would have you believe, but that legend persists. She pounded the pavement as other would-be actors and actresses have done, are doing and will continue to do in search of movie roles.
In 1937, Lana entered the movie world, at 17, with small parts in They Won't Forget (1937), The Great Garrick (1937) and A Star Is Born (1937). These films didn't bring her a lot of notoriety, but it was a start. In 1938 she had another small part in Love Finds Andy Hardy (1938) starring Mickey Rooney. It was this film that made young men's hearts all over America flutter at the sight of this alluring and provocative young woman--known as the "Sweater Girl"--and one look at that film could make you understand why: she was one of the most spectacularly beautiful newcomers to grace the screen in years. By the 1940s Lana was firmly entrenched in the film business. She had good roles in such films as Johnny Eager (1941), Somewhere I'll Find You (1942) and Week-End at the Waldorf (1945). If her career was progressing smoothly, however, her private life was turning into a train wreck, keeping her in the news in a way no one would have wanted.
Without a doubt her private life was a threat to her public career. She was married eight times, twice to Stephen Crane. She also married Ronald Dante, Robert Eaton, Fred May, Lex Barker, Henry Topping and bandleader Artie Shaw. She also battled alcoholism. In yet another scandal, her daughter by Crane, Cheryl Crane, fatally stabbed Lana's boyfriend, gangster Johnny Stompanato, in 1958. It was a case that would have rivaled the O.J. Simpson murder case. Cheryl was acquitted of the murder charge, with the jury finding that she had been protecting her mother from Stompanato, who was savagely beating her, and ruled it justifiable homicide. These and other incidents interfered with Lana's career, but she persevered. The release of Imitation of Life (1959), a remake of a 1934 film (Imitation of Life (1934)), was Lana's comeback vehicle. Her performance as Lora Meredith was flawless as an actress struggling to make it in show business with a young daughter, her housekeeper and the housekeeper's rebellious daughter. The film was a box-office success and proved beyond a doubt that Lana had not lost her edge.
By the 1960s, however, fewer roles were coming her way with the rise of new and younger stars. She still managed to turn in memorable performances in such films as Portrait in Black (1960) and Bachelor in Paradise (1961). By the next decade the roles were coming in at a trickle. Her last appearance in a big-screen production was in Witches' Brew (1980). Her final film work came in the acclaimed TV series Falcon Crest (1981) in which she played Jacqueline Perrault from 1982-1983. After all those years as a sex symbol, nothing had changed--Lana was still as beautiful as ever.
She died on June 25, 1995, in Culver City, California, after a long bout with cancer. She was 74 years old.- Actress
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Resembling Hedy Lamarr with her brunet sultry looks, beautiful second-string actress Patricia Dane possessed a rough and rowdy exterior, which worked much better for her in front of the camera than off of it. Born Thelma Patricia Ann Pippen in Jacksonville, Florida, her father died shortly after her birth and the infant was placed in the care, for a time, of her grandparents. When her mother remarried a man named Byrnes, young Thelma went back to live with her and was raised with the new name of Thelma Byrnes.
Following graduation from Andrew Jackson High School in Jacksonville, Patricia entered the University of Alabama. She moved to New York in 1938 with the intentions of being a fashion designer, but her dark-eyed beauty instead led her to instant money with modeling jobs. This opened a few doors and she quickly got caught up in the New York whirlwind "high life," becoming known around town as a feisty party girl.
Cast in her first role as a well-endowed Ziegfeld Girl in MGM's splashy, musical aptly named Ziegfeld Girl (1941), the studio immediately signed her up. She made minor impressions in Life Begins for Andy Hardy (1941) and as gangster Robert Taylor's girl in Johnny Eager (1941), which led to co-star billing in the "B" films Grand Central Murder (1942), as a volatile, cold-hearted actress who meets a nasty end, _Northwest Rangers (1942) and _Manhattan Melodrama (1942)_.
Patricia was squired about town with a number of eligible bachelors but on April 8, 1943 she became Mrs. Tommy Dorsey. Following a role in the Red Skelton vehicle I Dood It (1943), she left films per the renowned bandleader's insistence. The marriage was stormy to say the least, with some grand knockout fights that made headlines as both were pretty wild tipplers (she would often refer themselves as "The New Battling Bogarts"). This marriage had little chance for survival and on August 26, 1947 it was finished. She never remarried.
Patricia could now return to films and did so with the minor entries Joe Palooka in Fighting Mad (1948) and Are You with It? (1948). Nothing came of it. She made more unattractive news in 1949 when she and MGM actor Robert Walker were arrested for driving erratically, public drunkenness and resisting arrest. After this, all she could find were unbilled parts in Road to Bali (1952) and A Life of Her Own (1950).
Moving to Blountsown, Florida, Patricia's life quieted down considerably becoming, of all things, a librarian in town. She died completely out of the limelight of lung cancer on June 5, 1995.- Actress
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Hedy Lamarr, the woman many critics and fans alike regard as the most beautiful ever to appear in films, was born Hedwig Eva Maria Kiesler in Vienna, Austria. She was the daughter of Gertrud (Lichtwitz), from Budapest, and Emil Kiesler, a banker from Lemberg (now known as Lviv). Her parents were both from Jewish families. Hedwig had a calm childhood, but it was cinema that fascinated her. By the time she was a teenager, she decided to drop out of school and seek fame as an actress, and was a student of theater director Max Reinhardt in Berlin. Her first role was a bit part in the German film Geld auf der Straße (1930) (aka "Money on the Street") in 1930. She was attractive and talented enough to be in three more German productions in 1931, but it would be her fifth film that catapulted her to worldwide fame. In 1932 she appeared in a Czech film called Ekstase (US title: "Ecstasy") and had made the gutsy move to appear nude. It's the story of a young girl who is married to a gentleman much older than she, but she winds up falling in love with a young soldier. The film's nude scenes created a sensation all over the world. The scenes, very tame by today's standards, caused the film to be banned by the U.S. government at the time.
Hedy soon married Fritz Mandl, a munitions manufacturer and a prominent Austrofascist. He attempted to buy up all the prints of "Ecstasy" he could lay his hands on (Italy's dictator, Benito Mussolini, had a copy but refused to sell it to Mandl), but to no avail (there are prints floating around the world today). The notoriety of the film brought Hollywood to her door. She was brought to the attention of MGM mogul Louis B. Mayer, who signed her to a contract (a notorious prude when it came to his studio's films, Mayer signed her against his better judgment, but the money he knew her notoriety would bring in to the studio overrode any moral concerns he may have had). However, he insisted she change her name and make good, wholesome films.
Hedy starred in a series of exotic adventure epics. She made her American film debut as Gaby in Algiers (1938). This was followed a year later by Lady of the Tropics (1939). In 1942, she played the plum role of Tondelayo in the classic White Cargo (1942). After World War II, her career began to decline, and MGM decided it would be in the interest of all concerned if her contract were not renewed. Unfortunately for Hedy, she turned down the leads in both Gaslight (1940) and Casablanca (1942), both of which would have cemented her standing in the minds of the American public. In 1949, she starred as Delilah opposite Victor Mature's Samson in Cecil B. DeMille's epic Samson and Delilah (1949). This proved to be Paramount Pictures' then most profitable movie to date, bringing in $12 million in rental from theaters. The film's success led to more parts, but it was not enough to ease her financial crunch. She made only six more films between 1949 and 1957, the last being The Female Animal (1958).
Hedy retired to Florida. She died there, in the city of Casselberry, on January 19, 2000.- A beautiful auburn-haired lass with blue/grey eyes, Andra Martin was born Sandra Hildur Rehn (pronounced 'Wren') in Rockford, Illinois, of Swedish ancestry. She grew up on her parent's farm, attended high school in her home town and harboured dreams of becoming a star. Andra's first step on that projected career path was to spend two years studying speech and drama at Northwestern University. Her next stop was New York where she finagled her first job as a model while continuing part-time acting studies under the personal tutelage of Lee Strasberg. Strasberg was suitably impressed, considered her 'a natural' and recommended her to Joshua Logan to screen test for the female lead in Sayonara (1957) (opposite Marlon Brando). Alas, that fell through as did another audition at Warner Brothers for the part in Marjorie Morningstar (1958) which had already been earmarked for Natalie Wood. Universal-International eventually took up the option and signed the budding starlet under contract.The publicity machine went rapidly into top gear, comparing Andra to Hollywood's biggest and brightest, a melding of the attributes of Elizabeth Taylor and Betty Grable with the brains of a Katharine Hepburn. Sadly, her subsequent casting would tend to emphasize her beauty rather than her talent.
Andra only appeared in three pictures for Universal, none of them particularly good. The first was a second lead in a so-so romantic drama (The Lady Takes a Flyer (1958)) as the 'other woman', competing with Lana Turner for the affections of Jeff Chandler. Her character, a pilot, gets killed towards the end. Her other outing was a second-billed role in The Big Beat (1958), a youth-oriented musical which featured no less than fifteen musical numbers. Unsurprisingly, with just 81 minutes of screen time, there was little room for the semblance of a plot (or acting, for that matter). Number three was one of Universal's quota quickies, a lame horror film (The Thing That Couldn't Die (1958)) which cast Andra as a water diviner with telepathic abilities (!). She also made a few of films under contract to Warners, notably the submarine drama Up Periscope (1959) (as the perfunctory female lead) and the Clint Walker western Yellowstone Kelly (1959) (as the love interest, a captive Arapaho girl). By the end of the 50s, the newly minted Deb Star was earning $200 per week.
While her movie career was going nowhere, Andra managed quite well in securing spots as featured leading lady on many popular TV shows on the Warners roster, including Bronco (1958), Cheyenne (1955), 77 Sunset Strip (1958), The Alaskans (1959), Bourbon Street Beat (1959) and Hawaiian Eye (1959). In August 1958, she married Bronco star Ty Hardin (over the objections of their respective managers and Warner Brothers TV execs, who argued that such a union would ruin their romantic appeal to the public). The marriage ended in divorce in 1962. Andra left the film business following her second marriage to a department store heir which lasted six years. A third marriage, however, endured from 1970 until Andra's passing on May 3 2022 at the age of 86. - A prime pin up attraction ("Miss Body Beautiful", "Miss Bronx"), auburn-haired Mickey Koren was raised in the East Bronx and began her career as a juvenile model. She moved with her family to California while still in her teens. After attending classes at the Ben Bard Drama academy in Hollywood, Laurie appeared in stage productions in southern California (then using the name Barbara White, following a marriage to trumpet player and magician Larry White). Having segued into motion pictures -- beginning with a bit part as a good time girl in 20,000 Leagues Under the Sea (1954)] -- she languished for several years near the bottom of the bill in second features, alternating with marginally better guest spots on TV in anthology dramas and westerns. Though usually typecast as 'saloon girls' in often stilted fare, she later recalled "... they were crappy pictures, but I loved it. It was a great, great experience." A co-starring role in a minor musical comedy aimed at the youth market (Calypso Joe (1957)) began to raise her profile. Taking her sister's advice, Laurie then changed her hair colour to blond and adopted her new moniker. Thus transformed, she went on to join the circle of cult favorites, commencing her foray into mini-budget schlock sci-fi with Attack of the Puppet People (1958). This was followed with two back-to-back roles in the same genre: first, as a man-hating Venusian despot in the (frankly dreadful) Queen of Outer Space (1958) (in which she goes toe-to-toe with a heavily accented Zsa Zsa Gabor); her second, as a 'moon girl' fated to be munched up by a lunar cave spider in (the equally vapid) Missile to the Moon (1958), an inferior re-make of the earlier Cat-Women of the Moon (1953). On a brighter note, there also were small parts in the Billy Wilder classic Some Like It Hot (1959) (as one of Sweet Sue's band members) and as a showgirl in the Cary Grant-Doris Day rom-com That Touch of Mink (1962).
Laurie retired from the screen in 1971. She divorced White in 1976 and subsequently married a medical salesman, re-emerging from relative obscurity in later years after being "rediscovered" by fans to making the rounds of celebrity expos. - Rebecca Welles was born on 5 February 1928 in Philadelphia, Pennsylvania, USA. She was an actress, known for Wire Service (1956), Juvenile Jungle (1958) and Lights Out (1946). She was married to Don Weis and Barton Lawrence Goldberg. She died on 13 February 2017 in Santa Fe, New Mexico, USA.
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Greta Garbo was born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, to Anna Lovisa (Johansdotter), who worked at a jam factory, and Karl Alfred Gustafsson, a laborer. She was fourteen when her father died, which left the family destitute. Greta was forced to leave school and go to work in a department store. The store used her as a model in its newspaper ads. She had no film aspirations until she appeared in short advertising film at that same department store while she was still a teenager. Erik A. Petschler, a comedy director, saw the film and gave her a small part in his Luffar-Petter (1922). Encouraged by her own performance, she applied for and won a scholarship to a Swedish drama school. While there she appeared in at least one film, En lyckoriddare (1921). Both were small parts, but it was a start. Finally famed Swedish director Mauritz Stiller pulled her from the drama school for the lead role in The Saga of Gösta Berling (1924). At 18 Greta was on a roll.
Following The Joyless Street (1925) both Greta and Stiller were offered contracts with MGM, and her first film for the studio was the American-made Torrent (1926), a silent film in which she didn't have to speak a word of English. After a few more films, including The Temptress (1926), Love (1927) and A Woman of Affairs (1928), Greta starred in Anna Christie (1930) (her first "talkie"), which not only gave her a powerful screen presence but also garnered her an Academy Award nomination as Best Actress (she didn't win). Later that year she filmed Romance (1930), which was somewhat of a letdown, but she bounced back in 1931, landing another lead role in Mata Hari (1931), which turned out to be a major hit.
Greta continued to give intense performances in whatever was handed her. The next year she was cast in what turned out to be yet another hit, Grand Hotel (1932). However, it was in MGM's Anna Karenina (1935) that she gave what some consider the performance of her life. She was absolutely breathtaking in the role as a woman torn between two lovers and her son. Shortly afterwards, she starred in the historical drama Queen Christina (1933) playing the title character to great acclaim. She earned an Oscar nomination for her role in the romantic drama Camille (1936), again playing the title character. Her career suffered a setback the following year in Conquest (1937), which was a box office disaster. She later made a comeback when she starred in Ninotchka (1939), which showcased her comedic side. It wasn't until two years later she made what was to be her last film, Two-Faced Woman (1941), another comedy. But the film drew controversy and was condemned by the Catholic Church and other groups and was a box office failure, which left Garbo shaken.
After World War II Greta, by her own admission, felt that the world had changed perhaps forever and she retired, never again to face the camera. She would work for the rest of her life to perpetuate the Garbo mystique. Her films, she felt, had their proper place in history and would gain in value. She abandoned Hollywood and moved to New York City. She would jet-set with some of the world's best-known personalities such as Aristotle Onassis and others. She spent time gardening and raising flowers and vegetables. In 1954 Greta was given a special Oscar for past unforgettable performances. She even penned her biography in 1990.
On April 15, 1990, Greta died of natural causes in New York and with her went the "Garbo Mystique". She was 84.- Actress
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Greta Garbo was born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, to Anna Lovisa (Johansdotter), who worked at a jam factory, and Karl Alfred Gustafsson, a laborer. She was fourteen when her father died, which left the family destitute. Greta was forced to leave school and go to work in a department store. The store used her as a model in its newspaper ads. She had no film aspirations until she appeared in short advertising film at that same department store while she was still a teenager. Erik A. Petschler, a comedy director, saw the film and gave her a small part in his Luffar-Petter (1922). Encouraged by her own performance, she applied for and won a scholarship to a Swedish drama school. While there she appeared in at least one film, En lyckoriddare (1921). Both were small parts, but it was a start. Finally famed Swedish director Mauritz Stiller pulled her from the drama school for the lead role in The Saga of Gösta Berling (1924). At 18 Greta was on a roll.
Following The Joyless Street (1925) both Greta and Stiller were offered contracts with MGM, and her first film for the studio was the American-made Torrent (1926), a silent film in which she didn't have to speak a word of English. After a few more films, including The Temptress (1926), Love (1927) and A Woman of Affairs (1928), Greta starred in Anna Christie (1930) (her first "talkie"), which not only gave her a powerful screen presence but also garnered her an Academy Award nomination as Best Actress (she didn't win). Later that year she filmed Romance (1930), which was somewhat of a letdown, but she bounced back in 1931, landing another lead role in Mata Hari (1931), which turned out to be a major hit.
Greta continued to give intense performances in whatever was handed her. The next year she was cast in what turned out to be yet another hit, Grand Hotel (1932). However, it was in MGM's Anna Karenina (1935) that she gave what some consider the performance of her life. She was absolutely breathtaking in the role as a woman torn between two lovers and her son. Shortly afterwards, she starred in the historical drama Queen Christina (1933) playing the title character to great acclaim. She earned an Oscar nomination for her role in the romantic drama Camille (1936), again playing the title character. Her career suffered a setback the following year in Conquest (1937), which was a box office disaster. She later made a comeback when she starred in Ninotchka (1939), which showcased her comedic side. It wasn't until two years later she made what was to be her last film, Two-Faced Woman (1941), another comedy. But the film drew controversy and was condemned by the Catholic Church and other groups and was a box office failure, which left Garbo shaken.
After World War II Greta, by her own admission, felt that the world had changed perhaps forever and she retired, never again to face the camera. She would work for the rest of her life to perpetuate the Garbo mystique. Her films, she felt, had their proper place in history and would gain in value. She abandoned Hollywood and moved to New York City. She would jet-set with some of the world's best-known personalities such as Aristotle Onassis and others. She spent time gardening and raising flowers and vegetables. In 1954 Greta was given a special Oscar for past unforgettable performances. She even penned her biography in 1990.
On April 15, 1990, Greta died of natural causes in New York and with her went the "Garbo Mystique". She was 84.- Actress
- Music Department
- Producer
Brigitte Bardot was born on September 28, 1934 in Paris, France. Her father had an engineering degree and worked with his father in the family business. Brigitte's mother encouraged her daughter to take up music and dance, and she proved to be very adept at it. By the time she was 15, Brigitte was trying a modeling career, and found herself in the French magazine "Elle". Her incredible beauty readily apparent, Brigitte next tried films. In 1952, she appeared on screen for the first time as Javotte Lemoine in Crazy for Love (1952). Two more films followed and it was also the same year she married Roger Vadim (the union lasted 3½ years). Capitalizing on her success in French films, Brigitte made her first American production in Act of Love (1953) with Kirk Douglas, but she continued to make films in France. Brigitte's explosive sexuality took the United States by storm, and the effect she had on millions of American men who had not seen a woman like her in a long, long time--if ever--was electric. Rise to the phrase "sex kitten" and fascination of her in the United States consisted of magazines photographs and dubbed over French films--good, bad or indifferent, her films drew audiences--mainly men--into theaters like lemmings. In 1965, she appeared as herself in the American-made Dear Brigitte (1965) with James Stewart (she only appeared in one scene). Just before she turned 40, Brigitte retired from movies after filming The Edifying and Joyous Story of Colinot (1973). She prefers life outside of stardom. While it enabled her to become internationally famous, it also carried with it annoyances. It was not anything for her to have "fans" enter her house or wander around the grounds of her home in the hopes of getting a glimpse of her or to take something that belonged to her. Paparazzi constantly hounded her with their cameras. She has been so soft-hearted that some people even have taken advantage of her generosity. After her life in the spotlight, Brigitte went on to become a leading spokesperson for animal rights and started the "Foundation Brigitte Bardot" dedicated solely to that cause. Her work in that realm is, perhaps, far greater than any film she could have made. Brigitte has been married to Bernard d'Ormale since 1992 and they reside in St. Tropez with their nearly 50 pets.- Brigitte Lin is a Taiwanese actress. She is regarded as an icon of Chinese language cinema for her extensive and varied roles in both Taiwanese and Hong Kong films. Lin was born in Chiayi, Taiwan. She was scouted in 1972 on the streets of Taipei by a film producer after she finished women's high school and was preparing for university.
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One of the brightest film stars to grace the screen was born Emilie Claudette Chauchoin on September 13, 1903, in Saint Mandé, France where her father owned a bakery at 57, rue de la République (now Avenue Général de Gaulle). The family moved to the United States when she was three. As Claudette grew up, she wanted nothing more than to play to Broadway audiences (in those days, any actress or actor worth their salt went for Broadway, not Hollywood). After her formal education ended, she enrolled in the Art Students League, where she paid for her dramatic training by working in a dress shop. She made her Broadway debut in 1923 in the stage production of "The Wild Wescotts". It was during this event that she adopted the name Claudette Colbert.
When the Great Depression shut down most of the theaters, Claudette decided to make a go of it in films. Her first film was called For the Love of Mike (1927). Unfortunately, it was a box-office disaster. She wasn't real keen on the film industry, but with an extreme scarcity in theatrical roles, she had no choice but to remain. In 1929 she starred as Joyce Roamer in The Lady Lies (1929). The film was a success and later that year she had another hit entitled The Hole in the Wall (1929). In 1930 she starred opposite Fredric March in Manslaughter (1930), which was a remake of the silent version of eight years earlier. A year after that Claudette was again paired in a film with March, Honor Among Lovers (1931). It fared well at the box-office, probably only because it was the kind of film that catered to women who enjoyed magazine fiction romantic stories. In 1932 Claudette played the evil Poppeia in Cecil B. DeMille's last great work, The Sign of the Cross (1932), and once again was cast with March. Later the same year she was paired with Jimmy Durante in The Phantom President (1932). By now Claudette's name symbolized good movies and she, along with March, pulled crowds into the theaters with the acclaimed Tonight Is Ours (1933).
The next year started a little on the slow side with the release of Four Frightened People (1934), where Claudette and her co-stars were at odds with the dreaded bubonic plague on board a ship. However, the next two films were real gems for this young actress. First up, Claudette was charming and radiant in Cecil B. DeMille's spectacular Cleopatra (1934). It wasn't one of DeMille's finest by any means, but it was a financial success and showcased Claudette as never before. However, it was as Ellie Andrews, in the now famous It Happened One Night (1934), that ensured she would be forever immortalized. Paired with Clark Gable, the madcap comedy was a mega-hit all across the country. It also resulted in Claudette being nominated for and winning the Oscar that year for Best Actress. IN 1935 she was nominated again for Private Worlds (1935), where she played Dr. Jane Everest, on the staff at a mental institution. The performance was exquisite. Films such as The Gilded Lily (1935), Drums Along the Mohawk (1939) and No Time for Love (1943) kept fans coming to the theaters and the movie moguls happy. Claudette was a sure drawing card for virtually any film she was in. In 1944 she starred as Anne Hilton in Since You Went Away (1944). Again, although she didn't win, Claudette picked up her third nomination for Best Actress.
By the late 1940s and early 1950s she was not only seen on the screen but the infant medium of television, where she appeared in a number of programs. However, her drawing power was fading somewhat as new stars replaced the older ones. In 1955 she filmed the western Texas Lady (1955) and wasn't seen on the screen again until Parrish (1961). It was her final silver screen performance. Her final appearance before the cameras was in a TV movie, The Two Mrs. Grenvilles (1987). She did, however, remain on the stage where she had returned in 1956, her first love. After a series of strokes, Claudette divided her time between New York and Barbados. On July 30, 1996, Claudette died in Speightstown, Barbados. She was 92.- Linda Christian was born Blanca Rosa Welter, to a Dutch father, Gerardus Jacob Welter, and a Mexican-born mother, Blanca Rosa Vorhauer. Her Father was an executive with Royal Dutch Shell and Christian traveled extensively as a result living in South Africa, Romania, Germany, France, Switzerland, England, and Palestine at various times during her childhood This was beneficial in that the little girl - a very good pupil at school - eventually was able to speak seven languages. She also turned into a shapely young lady who won a beauty contest. She started studying medicine in Palestine but had to be repatriated to the USA due to the international situation. She landed in Los Angeles and naturally considered a movie career there. She studied drama but got only minor parts for years. She really became famous when she married Tyrone Power, and her career somewhat improved. But it is scandal more than her film roles that long made her a favorite of the celebrity press rather than of specialized movie magazines.
- Bella Darvi became a 50s symbol for one of the many movie "Cinderellas" whose bright and beautiful Hollywood fairy tale would come crashing down, ending in bitterness and tragedy. A self-destructive brunette beauty, her life was full of misfortune. Of Polish/French descent, she miraculously survived the tortures of a WWII concentration camp as a youth, only to get caught up in the phony glitter and high-living style of Monaco's casinos as a young adult in Europe. An inveterate gambler and drinker, she was, by chance, "discovered" by movie mogul Darryl F. Zanuck and his wife, Virginia Fox, who thought she had a foreign cinematic allure à la Ingrid Bergman. Despite her lack of acting experience, the Zanucks paid off her gambling debts and whisked her away to Hollywood to be groomed for stardom. Her marquee name "Darvi" was derived from the combined first names of her mentors. It should have been a dream-come-true opportunity. Fate, however, would not be so kind. After three high profile roles in The Egyptian (1954), Hell and High Water (1954) and The Racers (1955) opposite three top male films stars (Victor Mature, Richard Widmark and Kirk Douglas, respectively), Darvi's limited abilities were painfully transparent. Not only was she hampered by an ever-so-slight crossed-eyed appearance, she had a trace of a lisp which, combined with a foreign accent, made her speech appear slurred and difficult to understand. It didn't take long for the actress to go off the deep end. Within a short time, a major sex scandal involving Mr. Zanuck had wife Virginia packing Darvi's bags and any "career" she once had here in America was over. She retreated back to Europe, made a few inconsequential films, and quickly returned to her adverse habits -- liquor and the gambling tables. But this time there was no one to save her. Mounting debts and despair eventually turned her thoughts to suicide. After several attempts, Darvi finally succeeded in 1971 by turning on the gas stove in her apartment. She was only 42.
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Anna Maria Pierangeli was born June 19, 1932, in Cagliari, Sardinia, Italy. Anna and her twin sister, Marisa Pavan, both had their eyes on becoming film stars, since that was one of the big Italian pastimes. Anna adopted her surname and split it in half, and it was as Pier Angeli that she would find fame. Her first role was an uncredited part in 1948's The Million Dollar Nickel (1952), an Italian production. Pier was 16 at the time and it was to be the first of many roles for this beautiful woman. The film was largely forgettable but it was a start. The following year she played in another Italian production, Tomorrow Is Too Late (1950). Again it was a very small role, and she was not seen on the screen again until 1951. Between 1949 and 1951 she appeared in stage productions and found work in menial jobs. When she did return it was in the film The Light Touch (1951) as Anna Vasarri. Later that year she won the title role in Teresa (1951). However, she again hit a drought with only one film in 1952 and two in 1953. The next year things began to pick up, however, with Hollywood beckoning. After the Italian Miss Nitouche (1954) she caught the eyes of Hollywood moguls, who cast her in Flame and the Flesh (1954) and The Silver Chalice (1954). Now she divided her time between Italy and the US making movies. She married Vic Damone in 1954, a union that lasted only four years and produced one son.
No film offers came in 1955, but in 1956 Pier landed the role of Norma Graziano (wife of fighter Rocky Graziano) in Somebody Up There Likes Me (1956) opposite Paul Newman. The film was well received at the box office and she had hopes that things were going to pick up again. She played Ynez in Port Afrique (1956) later that year and then another drought ensued. After The Vintage (1957), Merry Andrew (1958) and SOS Pacific (1959), she made three more films in 1960. Then once again 1961 saw no appearances. In 1962 Pier played Ildith in Sodom and Gomorrah (1962) and later that year played in a French production entitled White Slave Ship (1961). After the Italian production of Shadow of Evil (1964) she returned in the hit European-American co-production Battle of the Bulge (1965).
After a handful of films between 1966 and 1970, Pier realized her dreams of super-stardom were not to be. She had divorced her second husband (Armando Trovajoli) in 1969 and made her final appearance on the screen in 1971 in the low-budget sci-fi opus Octaman (1971). On September 10th of that year Pier was found dead of a barbiturate overdose in her Beverly Hills home. She was only 39 years old.- Actress
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Dorothy Jean Dandridge was born on November 9, 1922 in Cleveland, Ohio, to Ruby Dandridge (née Ruby Jean Butler), an entertainer, and Cyril H. Dandridge, a cabinet maker and minister. Under the prodding of her mother, Dorothy and her sister Vivian Dandridge began performing publicly, usually in black Baptist churches throughout the country. Her mother would often join her daughters on stage. As the depression worsened, Dorothy and her family picked up and moved to Los Angeles where they had hopes of finding better work, perhaps in film. Her first film was in the Marx Brothers comedy, A Day at the Races (1937). It was only a bit part but Dandridge hoped it would blossom into something better. She only appeared in another film in 1940, in Four Shall Die (1940).
Meanwhile, she dropped out of high school and became part of a musical trio which performed with the orchestra of Jimmie Lunceford. During the late 30s, she dated music composer Phil Moore, who was instrumental in launching her career as a nightclub singer and big band vocalist.
Her next few screen roles in the early 1940s tended to be small stereotypical roles of black girls or princesses - such as Bahama Passage (1941) and Drums of the Congo (1942), She was the singing star of the western themed all-black-cast "soundie" (short musical) Cow-Cow Boogie (1942) and appeared in movies that showcased her talents as actress and singer, like Hit Parade of 1943 (1943) as the vocalist of Count Basie's Band, and twice as the vocalist of Louis Armstrong's Band in Pillow to Post (1945) and Atlantic City (1944).
Those brought her headline acts in the nation's finest hotel nightclubs in New York, Miami, Chicago and Las Vegas. She may have been allowed to sing in these fine hotels but, because of racism, she couldn't have a room in any of them. It was reported that one hotel drained its swimming pool to keep her from enjoying that amenity.
In 1954, she appeared in the all-black production of Carmen Jones (1954) in the title role. She was so superb in that picture that she garnered an Academy Award nomination but lost to Grace Kelly in The Country Girl (1954). She did not get another movie role until Tamango (1958), an Italian film. She did six more films, including, most notably, Island in the Sun (1957) and Porgy and Bess (1959). The last movie in which she would ever appear was The Murder Men (1962) (1961).
Dandridge faded quickly after that, due to an ill-considered marriage to Jack Dennison (her first husband was Harold Nicholas), poor investments, financial woes, and alcoholism.
She was found dead in her apartment at 8495 Fountain Avenue, West Hollywood, on September 8, 1965, aged 42, from barbiturate poisoning. She left $2.14 in her bank account, and a handwritten letter: "In case of my death - whoever discovers it - Don't remove anything I have on - scarf, gown, or underwear. Cremate me right away - if I have any money, furniture, give it to my mother, Ruby Dandridge - She will know what to do.". She was cremated and her ashes were interred in the Freedom Mausoleum at Forest Lawn Memorial Park in Glendale, California.
She was posthumously awarded a Star on the Hollywood Walk of Fame at 6719 Hollywood Blvd. on January 18, 1983.- Maggie McNamara -- with her brown hair in a ponytail -- arrives in Rome in Three Coins in the Fountain (1954) expecting great things to happen. Petite and slender, she looks almost like a schoolgirl in her prim blue suit. She is bright and vivacious and goes for what she wants -- a proposal from "Prince Dino De Cessi" played by Louis Jourdan. She was in her mid-20s, then, and at the height of her career as she made her second film. One of four children of Irish-American parents, Maggie had come a long way since attending Textile High in New York to prepare for a modeling career. Pert as well as petite, she must have reminded people of the young Debbie Reynolds. Both had a look that was popular in the late 1940s. Maggie's picture appeared twice on the cover of Life Magazine and people were saying she too ought to be in movies. She started taking lessons with a dramatic coach and, at the age of 23, she was discovered by Otto Preminger. He signed her to play the role of a proper young lady who lets herself be lured to a bachelor's apartment in the Chicago production of a play of F. Hugh Herbert. She played the ingénue role in "The Moon Is Blue" in the national company for 18 months. Then, in 1951, she made it to Broadway in "The King of Friday's Men". Brooks Atkinson, drama critic for the New York Times, said of her performance in that play that she was "remarkably pretty and has a gift for acting". Then Maggie was offered the female lead in the Otto Preminger's film version of The Moon Is Blue (1953) with William Holden and David Niven. Theater patrons in New York and Chicago had found the stage version of the story amusing. The Catholic Legion of Decency was not amused when it previewed the film. It was stamped "C" for Condemned. The New York Times noted in 1978: "The Moon Is Blue aroused a storm of controversy because of what some observers regarded as 'indecent' discussion of sex, and the ridicule of the rules of parental protection. By current standards, it was, in fact, a prim and proper work". Maggie was supporting herself as a typist when she died in 1978. The New York Times obituary appeared four weeks after her death. It said she was 48. The relative who confirmed that she had died did not give the newspaper the date of her birth. The relative said Maggie had been doing some writing recently and a film script, "The Mighty Dandelion", had been accepted by a new film producing company.
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Ona Munson was born Owena Elizabeth Wolcott on June 16, 1903 in Portland, Oregon. She took singing and dancing lessons when she was a child. At the age of fourteen, Ona moved to New York City with her mother. She began her career performing in vaudeville. In 1919 she made her Broadway debut in George White's Scandals. She appeared in several hit Broadway shows including No, No, Nanette and Hold Everything. Ona married stage actor Edward Buzzell in 1926. She went to Hollywood in 1930 to make the comedy Going Wild (1930). Soon after, she divorced her husband and started dating director Ernst Lubitsch. She starred in The Hot Heiress (1931) with Ben Lyon and in Broadminded (1931) with Joe E. Brown. Ona returned to Broadway in 1933 for a production of Hold Your Horses. While appearing in the show Ghosts she had a brief romance with actress Alla Nazimova. She also had relationships with Greta Garbo, Tallulah Bankhead, and director Dorothy Arzner. In 1939 she was cast as Belle Watling, a Southern madam, in Gone with the Wind (1939). The movie was a huge success but Ona ended up being typecast in similar roles. She got rave reviews playing a madam again in the film The Shanghai Gesture (1941).
Ona had a passionate love affair with playwright Mercedes de Acosta. She said they shared "the deepest spiritual moment that life brings". Worried about being outed as a lesbian she ended the romance and married Stewart McDonald, a loan administrator, in 1941. Their marriage was an arrangement since Stewart was also gay. During World War 2 she was chosen to be "Hollywood's official hostess" and acted as a godmother to hundreds of soldiers. She made some movies at Warner Brothers but her career stalled. Her final film was the thriller The Red House (1947). Ona divorced Stewart and married French painter Eugene Berman in 1950. This was another lavender marriage to a gay man. The couple moved to an apartment in The Belnord on Manhattan's Upper West Side. During the early 1950s Ona appeared in a few television shows. Unfortunately she was plagued by health problems and became very depressed. On February 1955 she committed suicide by taking an overdose of sleeping pills. She was fifty-one years old. Ona left a note that said "This is the only way I know to be free again ... Please don't follow me." She is buried at Ferncliff Cemetery in Hartsdale, New York.- This tall, dazzling, yet reserved and sensitive foreign import was born Giovanna Scoglio in Liverpool, England but moved to Sicily with her aristocratic Sicilian father and Irish mother at three months of age. She migrated to New York at age 14 and attended Bayside (Queens) High School, graduating in 1952. She worked various jobs as a file clerk and airline reservations taker while studying with Stella Adler and the Actors Studio. Appearing as a contestant on a television game show, a Universal Studios agent happened to spot the young beauty and immediately placed the young beauty under contract in 1954.
It did not take long before she moved up the Hollywood ladder. After only a couple of bit parts, Gia began earning good notices for her "second lead" roles. Her performance in The Price of Fear (1956) led to even better love interest parts in The Garment Jungle (1957) with Kerwin Mathews, Don't Go Near the Water (1957) opposite Glenn Ford, The Two-Headed Spy (1958) with Jack Hawkins, The Angry Hills (1959) starring Robert Mitchum, and I Aim at the Stars (1960) [aka: Wernher von Braun] with Curd Jürgens. Gia's best known film role came as the mute Anna, the ill-fated Greek resistance fighter, in the classic all-star epic film, The Guns of Navarone (1961) headed up by Gregory Peck and Anthony Quinn.
From there things began to spiral downhill for Gia personally and professionally. Riding on the coattails of her ever-present glamour and cinematic success were deep-rooted insecurities. Following the loss of her beloved mother, she fell into acute depression and began to drink heavily as compensation which led to a few arrests. She eventually lost her contract at Universal due to her unreliability, which forced her to seek work overseas. Her marriage to handsome actor Don Burnett, whom she co-starred with in the obscure adventure The Triumph of Robin Hood (1962) [The Triumph of Robin Hood] burnt itself out, and, at one point, she threw herself off London's Waterloo Bridge in desperation. She would have drowned in the Thames River had a passing cab driver not plucked her out of the water in time.
Gia's bouts with depression grew so severe that she was forced to undergo frequent psychiatric observations. In the midst of things she tried to pick herself up emotionally by studying painting and staying close to her younger sister, actress Tina Scala. It was too late. On April 30, 1972, it all ended for Gia Scala. She was found dead in her Hollywood Hills bedroom following an overdose of alcohol and sleeping pills. This incredible beauty who never reached her full potential in Hollywood instead became another Tinseltown statistic. - Actress
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This enigmatic Stockholm-born beauty had everything going for her, including a rapidly rising film and TV career. Yet on April 30, 1970, at only 35, Inger Stevens would become another tragic Hollywood statistic -- added proof that fame and fortune do not always lead to happiness. Over time, a curious fascination, and perhaps even a morbid interest, has developed over Ms. Stevens and her life. What exactly went wrong? A remote, paradoxical young lady with obvious personal problems, she disguised it all with a seemingly positive attitude, an incredibly healthy figure and a megawatt smile that wouldn't quit. Although very little information has been filtered out about Ms. Stevens and her secretive life over the years, William T. Patterson's eagerly-anticipated biography, "The Farmer's Daughter Remembered: The Biography of Actress Inger Stevens" (2000), finally put an end to much of the mystery. But not quite all. The book claims that a large amount of previously-published information about Ms. Stevens is either untrue or distorted.
A strong talent and consummate dramatic player of the late 50s and 60s, she was born Inger Stensland, the eldest of three children, of Swedish parentage. A painfully shy and sensitive child, she was initially drawn to acting as a girl after witnessing her father perform in amateur theater productions. Her rather bleak childhood could be directed at a mother who abandoned her family for another man when Inger was only 6. Her father moved to the States, remarried, and eventually summoned for Inger and a younger brother in 1944 to join him and his new bride. Family relations did not improve. As a teenager, she ran away from home and ended up in a burlesque chorus line only to be brought home by her father. After graduation and following some menial jobs here and there, she moved to New York and worked briefly as a model while studying at the Actors Studio. She broke into the business through TV commercials and summer stock, rising in the ingénue ranks as a guest in a number of weekly series.
Often viewed as the beautiful loner or lady of mystery, an innate sadness seemed to permeate many of her roles. Inger made her film debut at age 22 opposite Bing Crosby in Man on Fire (1957). Serious problems set in when Inger began falling in love with her co-stars. Broken affairs with Crosby, James Mason, her co-star in Cry Terror! (1958), Anthony Quinn, her director in Cecil B. DeMille's The Buccaneer (1958), and Harry Belafonte, her co-star in The World, the Flesh and the Devil (1959), left her frequently depressed and ultimately despondent. An almost-fatal New Year's day suicide attempt in 1959 led to an intense period of self-examination and a new resolve. A brief Broadway lead in "Roman Candle," an Emmy-nominated role opposite Peter Falk in Price of Tomatoes (1962), and popular appearances on such TV shows as Bonanza (1959), The Twilight Zone (1959) and Route 66 (1960) paved the way to a popular series as "Katy Holstrum," the Swedish governess, in The Farmer's Daughter (1963). This brisk, change-of-pace comedy role earned her a Golden Globe award and Emmy nomination, and lasted three seasons.
Now officially a household name, Inger built up her momentum once again in films. A string of parts came her way within a three-year period including the sex comedy A Guide for the Married Man (1967) as roving eye husband Walter Matthau's unsuspecting wife; Clint Eastwood's first leading film role in Hang 'Em High (1968); the crime drama, Madigan (1968) with Henry Fonda and Richard Widmark; the westerns Firecreek (1968) with Fonda again plus James Stewart, and 5 Card Stud (1968) opposite Dean Martin and Robert Mitchum; the political thriller House of Cards (1968) starring George Peppard and Orson Welles; and A Dream of Kings (1969) which reunited her with old flame Anthony Quinn. Although many of her co-starring roles seemed to be little more than love interest filler, Inger made a noticeable impression in the last movie mentioned, by far the most intense and complex of her film career. Adding to that mixture were a number of well-made TV mini-movies. On the minus side, she also resurrected the bad habit of pursuing affairs with her co-stars, which would include Dean Martin and, most notably, Burt Reynolds, her last.
In April of 1970, Inger signed on as a series lead in a crime whodunit The Most Deadly Game (1970) to be telecast that September. It never came to be. Less than a week later, she was found unconscious on the floor of her kitchen by her housekeeper and died en route to the hospital of acute barbiturate intoxication -- a lethal combination of drugs and alcohol. Yvette Mimieux replaced her in the short-lived series that fall. For all intents and purposes, Ms. Stevens' death was a suicide but Patterson's bio indicates other possibilities. Following her death, it came out in the tabloids that she had been secretly married to a Negro, Ike Jones, since 1961. The couple was estranged at the time of her death.- Actress
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Lupe Velez was born on July 18, 1908, in San Luis Potosi, Mexico, as Maria Guadalupe Villalobos Velez. She was sent to Texas at the age of 13 to live in a convent. She later admitted that she wasn't much of a student because she was so rambunctious. She had planned to become a champion roller skater, but that would change. Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but she kept a little for herself so she could take dancing lessons. With her mature shape and grand personality, she thought she could make a try at show business, which she figured was a lot more glamorous than dancing or working as a salesclerk. In 1924 Lupe started her show business career on the Mexican stage and wowed audiences with her natural beauty and talent. By 1927 she had emigrated to Hollywood, where she was discovered by Hal Roach, who cast her in a comedy with Stan Laurel and Oliver Hardy. Douglas Fairbanks then cast her in his feature film The Gaucho (1927) with himself and wife Mary Pickford. Lupe played dramatic roles for five years before she switched to comedy. In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful. In 1934 Lupe appeared in three fine comedies: Strictly Dynamite (1934), Palooka (1934) and Laughing Boy (1934). By now her popularity was such that a series of "Mexican Spitfire" films were written around her. She portrayed Carmelita Lindsay in Mexican Spitfire (1939), Mexican Spitfire Out West (1940), The Mexican Spitfire's Baby (1941) and Mexican Spitfire's Blessed Event (1943), among others. Audiences loved her in these madcap adventures, but it seemed at times that she was better known for her stormy love affairs. She married one of her lovers, Johnny Weissmuller, but the marriage only lasted five years and was filled with battles. Lupe certainly did live up to her nickname. She had a failed romance with Gary Cooper, who never wanted to wed her. By 1943 her career was waning. She went to Mexico in the hopes of jump-starting her career. She gained her best reviews yet in the Mexican version of Naná (1944). Bolstered by the success of that movie, Lupe returned to the US, where she starred in her final film as Pepita Zorita, Ladies' Day (1943). There were to be no others. On December 13, 1944, tired of yet another failed romance, with a part-time actor named Harald Maresch, and pregnant with his child, Lupe committed suicide with an overdose of Seconal. She was only 36 years old.- Actress
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Estelita Rodriguez was born on 2 July 1928 in Guanajay, Cuba. She was an actress, known for Rio Bravo (1959), Belle of Old Mexico (1950) and Susanna Pass (1949). She was married to Dr. Ricardo A. Pego, Ismael Alfonso Halfss, aka Henry Half, Grant Withers and Chu Chu Martinez. She died on 12 March 1966 in Van Nuys, California, USA.- Actress
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Sweet, sweeter, sweetest. No combination of terms better describes the screen persona of lovely Loretta Young. A&E's Biography (1987) has stated that Young "remains a symbol of beauty, serenity, and grace. But behind the glamour and stardom is a woman of substance whose true beauty lies in her dedication to her family, her faith, and her quest to live life with a purpose."
Loretta Young was born Gretchen Young in Salt Lake City, Utah on January 6, 1913, to Gladys (Royal) and John Earle Young. Her parents separated when Loretta was three years old. Her mother moved Loretta and her two older sisters to Southern California, where Mrs. Young ran a boarding house. When Loretta was 10, her mother married one of her boarders, George Belzer. They had a daughter, Georgianna, two years later.
Loretta was appearing on screen as a child extra by the time she was four, joining her elder sisters, Polly Ann Young and Elizabeth Jane Young (later better known as Sally Blane), as child players. Mrs. Young's brother-in-law was an assistant director and got young Loretta a small role in the film The Only Way (1914). The role consisted of nothing more than a small, weeping child lying on an operating table. Later that year, she appeared in another small role, in The Primrose Ring (1917). The film starred Mae Murray, who was so taken with little Loretta that she offered to adopt her. Loretta lived with the Murrays for about a year and a half. In 1921, she had a brief scene in The Sheik (1921).
Loretta and her sisters attended parochial schools, after which they helped their mother run the boarding house. In 1927, Loretta returned to films in a small part in Naughty But Nice (1927). Even at the age of fourteen, she was an ambitious actress. Changing her name to Loretta Young, letting her blond hair revert to its natural brown and with her green eyes, satin complexion and exquisite face, she quickly graduated from ingenue to leading lady. Beginning with her role as Denise Laverne in The Magnificent Flirt (1928), she shaped any character she took on with total dedication. In 1928, she received second billing in The Head Man (1928) and continued to toil in many roles throughout the '20s and '30s, making anywhere from six to nine films a year. Her two sisters were also actresses but were not as successful as Loretta, whose natural beauty was her distinct advantage.
The 17-year-old Young made headlines in 1930 when she and Grant Withers, who was previously married and nine years her senior, eloped to Yuma, Arizona. They had both appeared in Warner Bros.' The Second Floor Mystery (1930). The marriage was annulled in 1931, the same year in which the pair would again co-star on screen in a film ironically titled Too Young to Marry (1931). By the mid-'30s, Loretta left First National Studios for rival Fox, where she had previously worked on a loan-out basis, and became one of the premier leading ladies of Hollywood.
In 1935, she made Call of the Wild (1935) with Clark Gable and it was thought they had an affair where Loretta got pregnant thereafter. Because of the strict morality clauses in their contracts - and the fact that Clark Gable was married - they could not tell anybody except Loretta's mother. Loretta and her mother left for Europe after filming on The Crusades finished. They returned in August 1935 to the United States, at which time Gladys Belzer announced Loretta's 'illness' to the press. Filming on Loretta's next film, Ramona, was also cancelled. During this time, Loretta was living in a small house in Venice, California, her mother rented. On November 6, 1935, Loretta delivered a healthy baby girl whom she named Judith. It wasn't until the 1990s when she was watching Larry King Live where she first heard the word 'date rape' and upon finding out exactly what it was, professed to her friend and biographer Edward Funk and her daughter-in-law Linda Lewis, that she had gone through the same with Clark Gable. "That's what happened between me and Clark."
In 1938, Loretta starred as Sally Goodwin in Kentucky (1938), an outstanding success. Her co-star Walter Brennan won the Academy Award for Best Supporting Actor for his role as Peter Goodwin.
In 1940, Loretta married businessman Tom Lewis, and from then on her child was called Judy Lewis, although Tom Lewis never adopted her. Judy was brought up thinking that both parents had adopted her and did not know, until years later, that she was actually the biological daughter of Loretta and Clark Gable. Four years after her marriage to Tom Lewis, Loretta had a son, Christopher Lewis, and later another son, Peter Charles.
In the 1940s, Loretta was still one of the most beautiful ladies in Hollywood. She reached the pinnacle of her career when she won the Academy Award for Best Actress in The Farmer's Daughter (1947), the tale of a farm girl who rises through the ranks and becomes a congresswoman. It was a smash and today is her best remembered film. The same year, she starred in the delightful fantasy The Bishop's Wife (1947) with David Niven and Cary Grant. It was another box office success and continues to be a TV staple during the holiday season. In 1949, Loretta starred in the well-received film, Mother Is a Freshman (1949) with Van Johnson and Rudy Vallee and Come to the Stable (1949). The latter garnered Loretta her second Oscar nomination, but she lost to Olivia de Havilland in The Heiress (1949). In 1953, Loretta made It Happens Every Thursday (1953), which was to be her final big screen role.
She retired from films in 1953 and began a second, equally successful career as hostess of The Loretta Young Show (1953), a half-hour television drama anthology series which ran on NBC from September 1953 to September 1961. In addition to hosting the series, she frequently starred in episodes. Although she is most remembered for her stunning gowns and swirling entrances, over the broadcast's eight-year run she also showed again that she could act. She won Emmy awards for best actress in a dramatic series in 1954, 1956 and 1958.
After the show ended, she took some time off before returning in 1962 with The New Loretta Young Show (1962), which was not so successful, lasting only one season. For the next 24 years, Loretta did not appear in any entertainment medium. Her final performance was in a made for TV film Lady in the Corner (1989).
By 1960, Loretta was a grandmother. Her daughter Judy Lewis had married about three years before and had a daughter in 1959, whom they named Maria. Loretta and Tom Lewis divorced in the early 1960s. Loretta enjoyed retirement, sleeping late, visiting her son Chris and daughter-in-law Linda, and traveling. She and her friend Josephine Alicia Saenz, ex-wife of John Wayne, traveled to India and saw the Taj Mahal. In 1990, she became a great-grandmother when granddaughter Maria, daughter of Judy Lewis, gave birth to a boy.
Loretta lived a quiet retirement in Palm Springs, California until her death on August 12, 2000 from ovarian cancer at the home of her sister Georgiana and Georgiana's husband, Ricardo Montalban.- Actress
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Olivia Mary de Havilland was born on July 1, 1916 in Tokyo, Japan to British parents, Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her sister Joan, later to become famous as Joan Fontaine, was born the following year. Her surname comes from her paternal grandfather, whose family was from Guernsey in the Channel Islands. Her parents divorced when Olivia was just three years old, and she moved with her mother and sister to Saratoga, California.
After graduating from high school, where she fell prey to the acting bug, Olivia enrolled in Mills College in Oakland, where she participated in the school play "A Midsummer Night's Dream" and was spotted by Max Reinhardt. She so impressed Reinhardt that he picked her up for both his stage version and, later, the Warner Bros. film version in 1935. She again was so impressive that Warner executives signed her to a seven-year contract. No sooner had the ink dried on the contract than Olivia appeared in three more films: The Irish in Us (1935), Alibi Ike (1935), and Captain Blood (1935), this last with the man with whom her career would be most closely identified: heartthrob Errol Flynn. He and Olivia starred together in eight films during their careers. In 1939 Warner Bros. loaned her to David O. Selznick for the classic Gone with the Wind (1939). Playing sweet Melanie Hamilton, Olivia received her first nomination for an Academy Award for Best Supporting Actress, only to lose out to one of her co-stars in the film, Hattie McDaniel.
After GWTW, Olivia returned to Warner Bros. and continued to churn out films. In 1941 she played Emmy Brown in Hold Back the Dawn (1941), which resulted in her second Oscar nomination, this time for Best Actress. Again she lost, this time to her sister Joan for her role in Suspicion (1941). After that strong showing, Olivia now demanded better, more substantial roles than the "sweet young thing" slot into which Warners had been fitting her. The studio responded by placing her on a six-month suspension, all of the studios at the time operating under the policy that players were nothing more than property to do with as they saw fit. As if that weren't bad enough, when her contract with Warners was up, she was told that she needed to make up the time lost because of the suspension. Irate, she sued the studio, and for the length of the court battle she didn't appear in a single film. The result, however, was worth it. In a landmark decision, the court said that not only would Olivia not need to make up the time, but also that all performers would be limited to a seven-year contract that would include any suspensions handed down. This became known as the "de Havilland decision": no longer could studios treat their performers as chattel. Olivia returned to the screen in 1946 and made up for lost time by appearing in four films, one of which finally won her the Oscar that had so long eluded her: To Each His Own (1946), in which she played Josephine Norris to the delight of critics and audiences alike. Olivia was the strongest performer in Hollywood for the balance of the 1940s.
In 1948 she turned in another strong showing in The Snake Pit (1948) as Virginia Cunningham, a woman suffering a mental breakdown. The end result was another Oscar nomination for Best Actress, but she lost to Jane Wyman in Johnny Belinda (1948). As in the two previous years, she made only one film in 1949, but she again won a nomination and the Academy Award for Best Actress for The Heiress (1949). After a three-year hiatus, Olivia returned to star in My Cousin Rachel (1952). From that point on, she made few appearances on the screen but was seen on Broadway and in some television shows. Her last screen appearance was in The Fifth Musketeer (1979), and her last career appearance was in the TV movie The Woman He Loved (1988).
Her turbulent relationship with her only sibling, Joan Fontaine, was press fodder for many decades; the two were reported as having been permanently estranged since their mother's death in 1975, when Joan claimed that she had not been invited to the memorial service, which she only managed to hold off until she could arrive by threatening to go public. Joan also wrote in her memoir that her elder sister had been physically, psychologically, and emotionally abusive when they were young. And the iconic photo of Joan with her hand outstretched to congratulate Olivia backstage after the latter's first Oscar win and Olivia ignoring it because she was peeved by a comment Joan had made about Olivia's new husband, Marcus Goodrich, remained part of Hollywood lore for many years.
Nonetheless, late in life, Fontaine gave an interview in which she serenely denied any and all claims of an estrangement from her sister. When a reporter asked Joan if she and Olivia were friends, she replied, "Of course!" The reporter responded that rumors to the contrary must have been sensationalism and she replied, "Oh, right--they have to. Two nice girls liking each other isn't copy." Asked if she and Olivia were in communication and spoke to each other, Joan replied "Absolutely." When asked if there ever had been a time when the two did not get along to the point where they wouldn't speak with one another, Joan replied, again, "Never. Never. There is not a word of truth about that." When asked why people believe it, she replied "Oh, I have no idea. It's just something to say ... Oh, it's terrible." When asked if she had seen Olivia over the years, she replied, "I've seen her in Paris. And she came to my apartment in New York often." The reporter stated that all this was a nice thing to hear. Joan then stated, "Let me just say, Olivia and I have never had a quarrel. We have never had any dissatisfaction. We have never had hard words. And all this is press." Joan died in 2013.
During the hoopla surrounding the 50th anniversary of GWTW in 1989, Olivia graciously declined requests for all interviews as the last of the four main stars. She enjoyed a quiet retirement in Paris, France, where she resided for many decades, and where she died on 26 July, 2020, at the age of 104.
As well as being the last surviving major cast member of some of cinema's most beloved pre-war and wartime film classics (including The Adventures of Robin Hood (1938) and Gone with the Wind (1939)), and one of the longest-lived major stars in film history, Olivia de Havilland was unquestionably the last surviving iconic figure from the peak of Hollywood's golden era during the late 1930s, and her passing truly marked the end of an era.- Actress
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One of the leading sex symbols of the 1950s and 1960s, film actress Jayne Mansfield was born Vera Jayne Palmer on April 19, 1933 in Bryn Mawr, Pennsylvania, the only child of Vera J. (nee Palmer; later Peers) and Herbert W. Palmer. Her parents were well-to-do, with her father a successful attorney in Phillipsburg, New Jersey, where she spent a portion of her childhood. Her parents were both born with the same surname, and her ancestry was seven eighths English and Cornish and one eighth German. She was reportedly a talented pianist and played the violin when she was young.
Tragedy struck when Jayne was three, when her father suddenly died of a heart attack. Three years later, her mother remarried and she and her mother moved to Dallas, Texas, buying a small home where she had violin concerts in the driveway of their home. Her IQ was reportedly 163, and she attended the University of Dallas and participated in little-theater productions. In 1949, at the age of 16, she married a man five years her senior named Paul Mansfield. In November 1950, when Jayne was seventeen, their daughter, Jayne Marie Mansfield was born. The union ended in divorce but she kept the surname Mansfield as a good surname for an actress.
After some productions there and elsewhere, Jayne decided to go to Hollywood. Her first film was a bit role as a cigarette girl in Pete Kelly's Blues (1955). Although the roles in the beginning were not much, she was successful in gaining those roles because of her ample physical attributes which placed her in two other films that year, Hell on Frisco Bay (1955) and Illegal (1955). Her breakout role came the next year with a featured part in The Burglar (1957). By the time she portrayed Rita Marlowe in Will Success Spoil Rock Hunter? (1957) and Playgirl After Dark (1960), Jayne was now known as the poor man's Marilyn Monroe. She did not get the plum roles that Marilyn got in her productions. Instead, her films were more of a showcase for her body more than anything else. She did have a real talent for acting, but the movie executives insisted she stay in her dumb blonde stereotype roles. By the 1960s, her career had options that grew lower. She made somewhat embarrassing guest appearances like on the popular game show What's My Line? (1950), she appeared on the show four times in 1956, 1957, 1964, and 1966 and many other 1950s and 1960s game shows. By 1962, she was dropped from 20th Century Fox and the rest of her career had smaller options like being in B movies and low budget movies or performing at food stores or small nightclubs.
While traveling from a nightclub in Biloxi, Mississippi and 30 miles from New Orleans to where she was to be on television the following day, she was killed instantly on Highway 90 in Slidell, Louisiana in a car crash in the early hours of June 29, 1967, when the car in which she was riding slammed into the back of a semi-tractor trailer truck that had stopped due to a truck in front of the tractor trailer that was spraying for bugs. Her car went under the truck at nearly 80 miles per hour. Her boyfriend Samuel Brody and their driver Ronnie Harrison, were also killed. The damage to the car was so bad that the engine was twisted sideways. She was not, however, decapitated, as had long been misreported. She was 34 years old.
Mansfield's funeral was on July 3, 1967 and hundreds of people lined the main street of Pen Argyl for Mansfield's funeral, a small private ceremony at Fairview Cemetery in Plainfield (outside Pen Argyl), Pennsylvania (where her father was also buried), attended by her family. The only ex-husband to attend was Mickey Hargitay. Her final film, Single Room Furnished (1966), was released the following year. In 2000, Mansfield's 97 year old mother, Mrs. Vera Peers, was interred alongside Mansfield.
After Mansfield's death, Mansfield's mother, as well as her ex-husband Mickey Hargitay, William Pigue (legal guardian for her daughter, Jayne Marie), Charles Goldring (Mansfield's business manager), and Bernard B. Cohen and Jerome Webber (both administrators of the estate) all filed unsuccessful suits to gain control of her estate, which was initially estimated at $600,000 ($3,712,000 in 2018 dollars), including the Pink Palace (estimated at $100,000 ($619,000 in 2018 dollars)), a sports car sold for $7,000 ($43,000 in 2018 dollars), her jewelry, and Sam Brody's $185,000 estate left to her in his last will ($1,145,000 in 2018 dollars).
In 1971, Beverly Brody sued the Mansfield estate for $325,000 ($2,011,000 in 2018 dollars) worth of presents and jewelry given to Mansfield by Sam Brody; the suit was settled out of court.
In 1977, Mansfield's four eldest children (Jayne Marie, Mickey, Zoltan, and Mariska) went to court to discover that some $500,000 in debt which Mansfield had incurred ($3,093,000 in 2018 dollars) and litigation had left the estate insolvent.- Actress
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Rita Hayworth was born Margarita Carmen Cansino on October 17, 1918, in Brooklyn, New York, into a family of dancers. Her father, Eduardo Cansino Reina, was a dancer as was his father before him. He emigrated from Spain in 1913. Rita's American mother, Volga Margaret (Hayworth), who was of mostly Irish descent, met Eduardo in 1916 and were married the following year. Rita, herself, studied as a dancer in order to follow in her family's footsteps. She joined her family on stage when she was eight years old when her family was filmed in a movie called La Fiesta (1926). It was her first film appearance, albeit an uncredited one. Sotted by Fox studio head Winfield R. Sheehan, she signed her first studio contract, and make her film debut at age sixteen, in Dante's Inferno (1935), followed by Cruz Diablo (1934). She continued to play small bit parts in several films under the name of "Rita Cansino". Fox dropped her after five small roles, but expert, exploitative promotion by her first husband Edward Judson soon brought Rita a new contract at Columbia Pictures, where studio head Harry Cohn changed her surname to Hayworth and approved raising her hairline by electrolysis. She played the second female lead, Judy McPherson, in Only Angels Have Wings (1939). After thirteen minor roles, Columbia lent her to Warner Bros. for her first big success, The Strawberry Blonde (1941); her splendid dancing with Fred Astaire in You'll Never Get Rich (1941) made her a star. This was the film that exuded the warmth and seductive vitality that was to make her famous. Her natural, raw beauty was showcased later that year in Blood and Sand (1941), filmed in Technicolor.
Rita was probably the second most popular actress after Betty Grable. In You'll Never Get Rich (1941) with Fred Astaire, was probably the film that moviegoers felt close to Rita. Her dancing, for which she had studied all her life, was astounding. After the hit Gilda (1946) (her dancing had made the film and it had made her), her career was on the skids. Although she was still making movies, they never approached her earlier success. The drought began between The Lady from Shanghai (1947) and Champagne Safari (1954). Then after Salome (1953), she was not seen again until Pal Joey (1957). Part of the reasons for the downward spiral was television, but also Rita had been replaced by a new star at Columbia, Kim Novak.
Rita, herself, said, "Men fell in love with Gilda, but they wake up with me". In person, Rita was shy, quiet and unassuming; only when the cameras rolled did she turn on the explosive sexual charisma that in Gilda (1946) made her a superstar. To Rita, though, domestic bliss was a more important, if elusive, goal, and in 1949 she interrupted her career for marriage - unfortunately an unhappy one almost from the start - to the playboy Prince Aly Khan. Her films after her divorce from Khan include perhaps her best straight acting performances, Miss Sadie Thompson (1953) and They Came to Cordura (1959).
After a few, rather forgettable films in the 1960s, her career was essentially over. Her final film was The Wrath of God (1972). Her career was really never the same after Gilda (1946). Perhaps Gene Ringgold said it best when he remarked, "Rita Hayworth is not an actress of great depth. She was a dancer, a glamorous personality, and a sex symbol. These qualities are such that they can carry her no further professionally." Perhaps he was right but Hayworth fans would vehemently disagree with him.
Beginning in 1960 (age 42), early onset of Alzheimer's disease (undiagnosed until 1980) limited Rita's ability. The last few roles in her 60-film career were increasingly small. With 20 years of symptoms, Rita was cared for by her daughter, Yasmin Khan, until Rita's death at age 68 on May 14, 1987, in New York City.- Actress
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Sophia Loren was born as Sofia Scicolone at the Clinica Regina Margherita in Rome on September 20, 1934. Her father Riccardo was married to another woman and refused to marry her mother Romilda Villani, despite the fact that she was the mother of his two children (Sophia and her younger sister Maria Scicolone). Growing up in the slums of Pozzuoli during the second World War without any support from her father, she experienced great sadness in her childhood. Her life took an unexpected turn for the best when, at age 14, she entered into a beauty contest and placed as one of the finalists. It was here that Sophia caught the attention of film producer Carlo Ponti, some 22 years her senior, whom she later married. Perhaps he was the father figure she never experienced as a child. Under his guidance, Sophia was put under contract and appeared as an extra in ten films beginning with Le sei mogli di Barbablù (1950), before working her way up to supporting roles. In these early films, she was credited as "Sofia Lazzaro" because people joked her beauty could raise Lazzarus from the dead.
By her late teens, Sophia was playing lead roles in many Italian features such as La favorita (1952) and Aida (1953). In 1957, she embarked on a successful acting career in the United States, starring in Boy on a Dolphin (1957), Legend of the Lost (1957), and The Pride and the Passion (1957) that year. She had a short-lived but much-publicized fling with co-star Cary Grant, who was nearly 31 years her senior. She was only 22 while he was 53, and she rejected a marriage proposal from him. They were paired together a second time in the family-friendly romantic comedy Houseboat (1958). While under contract to Paramount, Sophia starred in Desire Under the Elms (1958), The Key (1958), The Black Orchid (1958), It Started in Naples (1960), Heller in Pink Tights (1960), A Breath of Scandal (1960), and The Millionairess (1960) before returning to Italy to star in Two Women (1960). The film was a period piece about a woman living in war-torn Italy who is raped while trying to protect her young daughter. Originally cast as the more glamorous child, Sophia fought against type and was re-cast as the mother, displaying a lack of vanity and proving herself as a genuine actress. This performance received international acclaim and was honored with an Academy Award for Best Actress.
Sophia remained a bona fide international movie star throughout the sixties and seventies, making films on both sides of the Atlantic, and starring opposite such leading men as Paul Newman, Marlon Brando, Gregory Peck, and Charlton Heston. Her English-language films included El Cid (1961), The Fall of the Roman Empire (1964), Arabesque (1966), Man of La Mancha (1972), and The Cassandra Crossing (1976). She gained wider respect with her Italian films, especially Marriage Italian Style (1964) and A Special Day (1977), both of which co-starred Marcello Mastroianni. During these years she received a second Oscar nomination and won five Golden Globe Awards.
From the eighties onward, Sophia's appearances on the big screen came few and far between. She preferred to spend the majority of her time raising sons Carlo Ponti Jr. (b. 1968) and Edoardo Ponti (b. 1973). Her only acting credits during the decade were five television films, beginning with Sophia Loren: Her Own Story (1980), a biopic in which she portrayed herself and her mother. She ventured into other areas of business and became the first actress to launch her own fragrance and design of eyewear. In 1982 she voluntarily spent nineteen days in jail for tax evasion.
In 1991 Sophia received an Honorary Academy Award for her body of work, and was declared "one of world cinema's greatest treasures." That same year, she experienced a terrible loss when her mother died of cancer. Her return to mainstream films in Ready to Wear (1994) was well-received, although the film as a whole was not. She followed this up with her biggest U.S. hit in years, the comedy Grumpier Old Men (1995), in which she played a sexy divorcée who seduces Walter Matthau. Over the next decade Sophia had plum roles in a few independent films like Soleil (1997), Between Strangers (2002) (directed by Edoardo), and Lives of the Saints (2004). Still beautiful at 72, she posed scantily-clad for the 2007 Pirelli Calendar. Sadly, that same year she mourned the death of her 94-year-old spouse, Carlo Ponti. In 2009, after far too much time away from film, she appeared in the musical Nine (2009) opposite Daniel Day-Lewis. These days Sophia is based in Switzerland but frequently travels to the states to spend time with her sons and their families (Eduardo is married to actress Sasha Alexander). Sophia Loren remains one of the most beloved and recognizable figures in the international film world.- Actress
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With prominent cheekbones, luminous skin and the most crystalline green eyes of her day, Gene Tierney's striking good looks helped propel her to stardom. Her best known role is the enigmatic murder victim in Laura (1944). She was also Oscar-nominated for Leave Her to Heaven (1945). Her acting performances were few in the 1950s as she battled a troubled emotional life that included hospitalization and shock treatment for depression.
Gene Eliza Tierney was born on November 19, 1920 in Brooklyn, New York, to well-to-do parents, Belle Lavinia (Taylor) and Howard Sherwood Tierney. Her father was a successful insurance broker and her mother was a former teacher. Her childhood was lavish indeed. She also lived, at times, with her equally successful grandparents in Connecticut and New York. She was educated in the finest schools on the East Coast and at a finishing school in Switzerland.
After two years in Europe, Gene returned to the US where she completed her education. By 1938 she was performing on Broadway in What a Life! and understudied for the Primrose Path (1938) at the same time. Her wealthy father set up a corporation that was only to promote her theatrical pursuits. Her first role consisted of carrying a bucket of water across the stage, prompting one critic to announce that "Miss Tierney is, without a doubt, the most beautiful water carrier I have ever seen!" Her subsequent roles Mrs O'Brian Entertains (1939) and RingTwo (1939) were meatier and received praise from the tough New York critics. Critic Richard Watts wrote "I see no reason why Miss Tierney should not have a long and interesting theatrical career, that is if the cinema does not kidnap her away."
After being spotted by the legendary Darryl F. Zanuck during a stage performance of the hit show The Male Animal (1940), Gene was signed to a contract with 20th Century-Fox. Her first role as Barbara Hall in Hudson's Bay (1940) would be the send-off vehicle for her career. Later that year she appeared in The Return of Frank James (1940). The next year would prove to be a very busy one for Gene, as she appeared in The Shanghai Gesture (1941), Sundown (1941), Tobacco Road (1941) and Belle Starr (1941). She tried her hand at screwball comedy in Rings on Her Fingers (1942), which was a great success. Her performances in each of these productions were masterful. In 1945 she was nominated for a Best Actress Oscar for her portrayal of Ellen Brent in Leave Her to Heaven (1945). Though she didn't win, it solidified her position in Hollywood society. She followed up with another great performance as Isabel Bradley in the hit The Razor's Edge (1946).
In 1944, she played what is probably her best-known role (and, most critics agree, her most outstanding performance) in Otto Preminger's Laura (1944), in which she played murder victim named Laura Hunt. In 1947 Gene played Lucy Muir in the acclaimed The Ghost and Mrs. Muir (1947). By this time Gene was the hottest player around, and the 1950s saw no letup as she appeared in a number of good films, among them Night and the City (1950), The Mating Season (1951), Close to My Heart (1951), Plymouth Adventure (1952), Personal Affair (1953) and The Left Hand of God (1955). The latter was to be her last performance for seven years. The pressures of a failed marriage to Oleg Cassini, the birth of a daughter with learning disabilities in 1943, and several unhappy love affairs resulted in Gene being hospitalized for depression. When she returned to the the screen in Advise & Consent (1962), her acting was as good as ever but there was no longer a big demand for her services.
Her last feature film was The Pleasure Seekers (1964), and her final appearance in the film industry was in a TV miniseries, Scruples (1980). Gene died of emphysema in Houston, Texas, on November 6, 1991, just two weeks shy of her 71st birthday.- Actress
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Linda Darnell, one of five children of a postal clerk, grew up fast. At 11, she was modeling clothes, giving her age as 16. At 13, she was appearing on the stage with little theater groups. Her mother encouraged her to audition when Hollywood talent scouts came to Dallas. She went to California and when the studio found out how young she really was, she was sent home and told to come back when she was 15. Her fourth film, Star Dust (1940), was based on this real life experience. It was Star Dust (1940) that Darnell was watching the night of April 9, 1965, at the home of her former secretary, located in Glenview, Illinois, a suburb of Chicago. The house caught on fire in the early hours of the next morning and Darnell died that afternoon in Cook County Hospital. The character she played in one of her best known roles, Forever Amber (1947) survived the London fire, the plague and the perils of being the mistress of the English king, Charles II.- Actress
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In a world weary of war and dispirited by the ravages of the Great Depression, Hollywood at the turn of the 1940s concocted a wildly popular, effective lot of escapist fare (though often cheaply made) to regale the sick at heart worldwide. Universal Pictures, more often than not, led in producing such films. We know about the monster movies: wolf men, invisible men -- and invisible women too, for that matter. We know about Sherlock Holmes chasing not killer hounds in 1890 but chasing killer Nazis a half- century later. Such were among typical Universal "B" productions. Enter Maria de Santo Silas -- Maria Montez. This daughter of a Spanish diplomat traveled extensively after being educated in the Canary Islands and attempted, albeit unsuccessfully, to establish herself as a stage actress in Europe. In 1940 she found herself in New York City, a model. Her screen career began in 1941, with Universal casting her in bit parts. On account of her strikingly exotic looks and her exotic accent, the studio soon paired her with other "exotics" (Sabu and Turhan Bey), and usually with a more "home-style" hero (Jon Hall), in a series of low-budget adventures, filmed in Technicolor and situated in fantasy lands, with Montez herself often situated in revealing dress. With Montez threatened by all manner of nastiness -- from evil caliphs to man-eating sharks to her own cobra-worshipping twin sister (!) -- her pictures soon became immensely popular, even though she could not really act, could not dance and could not sing. Audiences flocked to see her films, just to witness the trials and endurance of an alluring beauty in distress (as well, perhaps, as to glimpse some scantily clad, beauteous flesh). The Depression having long since passed, the end of World War II meant also the end of flying carpets and sand dunes and deadly reptiles as potential subjects for attracting moviegoers. That bit of history, plus a bit of girth added to Montez's frame, led her and her husband, the actor Jean-Pierre Aumont, to abandon Hollywood for Europe, where she would appear in a handful of French and Italian adventure films. On 7 September 1951 Maria Montez was discovered drowned in her bath, possibly having first suffered a heart attack.- Actress
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Fleeing an adolescence marred with domestic violence, foster homes and an abusive first husband, Sherry Britton started stripping at the age of fifteen at the People's Theater on the Bowery in Lower Manhattan. She received ten cents a performance. Along with her physical attributes -- an 18" waist; knee length brown hair -- she was very intelligent and earned a bachelor of arts degree from Fordham University at the age of sixty-three. She worked USO shows during World War II and received an honorary commission as a Brigadier General. She was also a trained belly dancer, and acted on Broadway.- Actress
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Julie Christie, the British movie legend whom Al Pacino called "the most poetic of all actresses," was born in Chabua, Assam, India, on April 14, 1940, the daughter of a tea planter and his Welsh wife Rosemary, who was a painter. The young Christie grew up on her father's plantation before being sent to England for her education. Finishing her studies in Paris, where she had moved to improve her French with an eye to possibly becoming a linguist (she is fluent in French and Italian), the teenager became enamored of the freedom of the Continent. She also was smitten by the bohemian life of artists and planned on becoming an artist before she enrolled in London's Central School of Speech Training. She made her debut as a professional in 1957 as a member of the Frinton Repertory of Essex.
Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. Her true métier as an actress was film, and she made her debut in the science-fiction television series A for Andromeda (1961) in 1961. Her first film was a girlfriend part in the Ealing-like comedy Crooks Anonymous (1962), which was followed up by a larger ingénue role in another comedy, The Fast Lady (1962). The producers of the James Bond series were sufficiently intrigued by the young actress to consider her for the role that subsequently went to Ursula Andress in Dr. No (1962), but dropped the idea because she was not busty enough.
Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress originally cast in Billy Liar (1963). Christie's turn in the film as the free-wheeling Liz was a stunner, and she had her first taste of becoming a symbol if not icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute in Young Cassidy (1965). Charlton Heston wanted her for his film The War Lord (1965), but the studio refused her salary demands.
Although Amercan magazines portrayed Christie as a "newcomer" when she made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (1965), she actually had considerable work under her professional belt and was in the process of a artistic quickening. Schlesinger called on Christie, whom he adored, to play the role of mode Diana Scott when the casting of Shirley MacLaine fell through. (MacLaine was the sister of the man who would become Christie's long-time paramour in the late 1960s and early '70s, Warren Beatty, whom some, like actor Rod Steiger, believe she gave up her career for. Her "Dr. Zhivago" co-star, Steiger -- a keen student of acting -- regretted that Christie did not give more of herself to her craft.)
As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from immature sex kitten to jaded socialite. For her complex performance, Christie won raves, including the Best Actress Awards from the Academy of Motion Picture Arts and Sciences and the British Film Academy. She had arrived, especially as she had followed up "Darling" with the role of Lara in two-time Academy Award-winning director David Lean's adaptation of Boris Pasternak's Doctor Zhivago (1965), one of the all-time box-office champs.
Christie was now a superstar who commanded a price of $400,000 per picture, a fact ruefully noted in Charlton Heston's diary (his studio had balked at paying her then-fee of $35,000). More interested in film as an art form than in consolidating her movie stardom, Christie followed up "Zhivago" with a dual role in Fahrenheit 451 (1966) for director François Truffaut, a director she admired. The film was hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the the more-appropriate-for-the-role Terence Stamp. Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. The film is an interesting failure.
Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (1967), which also featured two great English actors, Peter Finch and Alan Bates. It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too "mod" and thus untrue to one of Hardy's classic tales of fate. Some said that her contemporary Vanessa Redgrave would have been a better choice as Bathsheba, but while it is true that Redgrave is a very fine actress, she lacked the sex appeal and star quality of Christie, which makes the story of three men in love with one woman more plausible, as a film.
Although no one then knew it, the period 1967-68 represented the high-water mark of Christie's career. Fatefully, like the Hardy heroine she had portrayed, she had met the man who transformed her life, undermining her pretensions to a career as a movie star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a "treadmill leading to more treadmills" and who was wealthy enough after Bonnie and Clyde (1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of "Madding Crowd" and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends four decades after their affair ended in 1974.
Christie's last box-office hit in which she was the top-liner was Petulia (1968) for Richard Lester, a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an "arch-kook" who was emblematic of the '60s. It is one of the major films of the decade, an underrated masterpiece. Despite the presence of the great George C. Scott and the excellent Shirley Knight, the film would not work without Julie Christie. There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.
And she walked away.
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or at maintaining herself as a top-drawer working actress (success at the box office being a guarantee of the best parts, even in art films.) She turned down the lead in They Shoot Horses, Don't They? (1969) and Anne of the Thousand Days (1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (1969), a critical and box office flop, to fulfill her contractual obligations, she spent her time with Beatty in Calfiornia, renting a beach house at Malibu. She did return to form in Joseph Losey's The Go-Between (1971), a fine picture with a script by the great Harold Pinter, and she won another Oscar nomination as the whore-house proprietor in Robert Altman's minor classic McCabe & Mrs. Miller (1971) that she made with her lover Beatty. However, like Beatty himself, she did not seek steady work, which can be professional suicide for an actor who wants to maintain a standing in the first rank of movie stars.
At the same time, Julie Christie turned down the role of the Russian Empress in Nicholas and Alexandra (1971), another film that won the second-choice (Janet Suzman) a Best Actress Oscar nomination. Two years later, she appeared in the landmark mystery-horror film Don't Look Now (1973), but that likely was as a favor to the director, Nicolas Roeg, who had been her cinematographer on "Fahrenheit 451," "Far From the Madding Crowd" and "Petulia." In the mid '70s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (1975) (which she regretted due to its depiction of women) and Heaven Can Wait (1978).
Christie was still enough of a star, due to sheer magnetism rather than her own pull at the box-office, to be offered $1 million to play the Jacqueline Kennedy Onassis character in The Greek Tycoon (1978) (a part eventually played by Jacqueline Bisset to no great acclaim). She signed for but was forced to drop out of the lead in Agatha (1979) (which was filled by Vanessa Redgrave) after she broke a wrist roller-skating (a particularly southern Californian fate!). She then signed for the female lead in American Gigolo (1980) when Richard Gere was originally attached to the picture, but dropped out when John Travolta muscled his way into the lead after making twin box-office killings as disco king Tony Manera in Saturday Night Fever (1977) and greaser Danny Zuko in Grease (1978). Christie could never have co-starred with such a camp figure of dubious talent. When Travolta himself dropped out and Gere was subbed back in, it was too late for Christe to reconsider, as the part already had been filled by model-actress Lauren Hutton. It would take 15 years for Christie and Gere to work together.
Finally, the end of the American phase of her movie career was realized when Christie turned down the part of Louise Bryant in Reds (1981), a part written by Warren Beatty with her in mind, as she felt an American should play the role. (Beatty's latest lover, Diane Keaton, played the part and won a Best Actress Oscar nomination.) Still, she remained a part of the film, Beatty's long-gestated labor of love, as it is dedicated to "Jules."
Julie Christie moved back to the UK and become the UK's answer to Jane Fonda, campaigning for various social and political causes, including animal rights and nuclear disarmament. The parts she did take were primarily driven by her social consciousness, such as appearing in Sally Potter's first feature-length film, The Gold Diggers (1983) which was not a remake of the old Avery Hopwood's old warhorse but a feminist parable made entirely by women who all shared the same pay scale. Roles in The Return of the Soldier (1982) with Alan Bates and Glenda Jackson and Merchant-Ivory's Heat and Dust (1983) seemed to herald a return to form, but Christie -- as befits such a symbol of the freedom and lack of conformity of the '60s -- decided to do it her way. She did not go "careering," even though her unique talent and beauty was still very much in demand by filmmakers.
At this point, Christie's movie career went into eclipse. Once again, she was particularly choosy about her work, so much so that many came to see her, essentially, as retired. A career renaissance came in the mid-1990s with her turn as Gertrude in Kenneth Branagh's ambitious if not wholly successful Hamlet (1996). As Christie said at the time, she didn't feel she could turn Branagh down as he was a national treasure. But the best was yet to come: her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man in Afterglow (1997), which brought her rave notices. She received her third Best Actress Oscar nomination for her performance, and showed up at the awards as radiant and uniquely beautiful as ever. Ever the iconoclast, she was visibly relieved, upon the announcement of the award, to learn that she had lost!
Christie lived with left-wing investigative journalist Duncan Campbell (a Manchester Guardian columnist) since 1979, first in Wales, then in Ojai, California, and now in London's East End, before marrying in January 2008. In addition to her film work, she has narrated many books-on-tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's "Old Times", which garnered her superb reviews.
In the decade since "Afterglow," she has worked steadily on film in supporting roles. Christie -- an actress who eschewed vulgar stardom -- proved to be an inspiration to her co-star Sarah Polley, the remarkably talented Canadian actress with a leftist political bent who also abhors Hollywood. Of her co-star in No Such Thing (2001) and The Secret Life of Words (2005), Polley says that Christie is uniquely aware of her commodification by the movie industry and the mass media during the 1960s. Not wanting to be reduced to a product, she had rebelled and had assumed control of her life and career. Her attitude makes her one of Polley's heroes, who calls her one of her surrogate mothers. (Polley lost her own mother when she was 11 years old.)
Both Christie and Polley are rebels. Sarah Polley had walked off the set of the big-budget movie that was forecast as her ticket to Hollywood stardom, Almost Famous (2000), to have a different sort of life and career. She returned to her native Canada to appear in the low-budget indie The Law of Enclosures (2000), a prescient art film in that director John Greyson offset the drama with a background of a perpetual Gulf War three years before George W. Bush invaded Iraq, touching off the second-longest war in U.S. history. Taking a hiatus from acting, Polley went to Norman Jewison's Canadian Film Centre to learn to direct, and direct she has, making well-regarded shorts before launching her feature film debut, Away from Her (2006), which was shot and completed in 2006 but held for release until 2007 by its distributor.
Polley, who had longed to be a writer since she was a child actress on the set of the quaint family show Avonlea (1990) wrote the screenplay for her adaptation of Alice Munro's short story "The Bear Went Over the Mountain" with only one actress in mind: Julie Christie. Polley had first read the short story on a flight back from Iceland, where she had made "No Such Thing" with Christie, and as she read, it was Julie whom she pictured as Fiona, the wife of a one-time philandering husband, who has become afflicted with Alzheimer's disease and seeks to save her hubby the pain of looking after her by checking herself into a home.
After finishing the screenplay, it took months to get Christie to commit to making the film. Julie turned her down after reading the script and pondering it for a couple of months, saying "No" even though she liked the script. Polley then had to "twist her arm" for another couple of months. But alas, Julie has a weakness for national treasures: Just like with Branagh a decade ago, the legendary Julie Christie could not deny the Great White North's Sarah Polley, and commit she did. Polley then found out why Christie is so reticent about making movies:
"She gives all of herself to what she does. Once she said yes, she was more committed than anybody."
According to David Germain, a cinema journalist who interviewed Christie for the Associated Press, "Polley and Christie share a desire to do interesting, unusual work, which generally means staying away from Hollywood.
"'It's been a kind of greed and a kind of egotism, but it's not necessarily wanting to avoid the Hollywood thing, but in fact, it incorporates wanting to avoid the Hollywood thing, because the Hollywood thing is so inevitably not original,' Christie said. 'It's avoiding non-originality, so that means you're really down to a very small choice.'"
The collaboration between the two rebels yielded a small gem of a film. Lions Gate Films was so impressed, it purchased the American distribution rights to the film in 2006, then withheld it until the following year to build up momentum for the awards season.
Julie Christie's performance in "Away From Her" is superb, and already has garnered her the National Board of Review's Best Actress Award. She will likely receive her fourth Academy Award nomination, and quite possibly her second Oscar, for her unforgettable performance, a labor of love she did for a friend.
We, the Julie Christie fans who have waited decades for the handful of films made by the numinous star: Would we have wanted it any other way? We are the Red Sox fans of the movies, once again rewarded with a world-class masterpiece by our heroine. Perhaps, like all human beings, we want more, but we have learned over the last thirty-five years to be content with the diamonds that are Julie's leading performances that she gives just once a decade, content to feel that these are a surfeit of riches, our surfeit of riches, so great is their luminescence.- Actress
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As a baby, she was winning beauty contests; as a teenager, with good looks and an attractive contralto voice, she was singing with big bands (most notably Enric Madriguera's orchestra in Latin Club Del Rio in Washington, D.C.. She met Rudy Vallee, her first husband, on the radio where she also enjoyed a brief stint as a singer. At age 15, an attack of palsy left her face partially paralyzed. She claimed that it was through facial exercises to overcome the paralysis that she learned the efficacy of facial expression in conveying human emotion, a skill she was renowned for using in her acting.- Actress
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One is certainly hard-pressed to think of another true "bad girl" representative so closely identifiable with film noir than hard-looking blonde actress Audrey Totter. While she remained a "B"-tier actress for most her career, she was an "A" quality actress and one of filmdom's most intriguing ladies. She always managed to set herself apart even in the most standard of programming.
Born to an Austrian father and Swedish mother on December 20, 1917, in Joliet, Illinois, she treaded lightly on stage ("The Copperhead," "My Sister Eileen") and initially earned notice on the Chicago and New York radio airwaves in the late 1930s before "going Hollywood." MGM developed an interest in her and put her on its payroll in 1944. Still appearing on radio (including the sitcom "Meet Millie"), she made her film bow as, of course, a "bad girl" in Main Street After Dark (1945). That same year the studio usurped her vocal talents to torment poor Phyllis Thaxter in Bewitched (1945). Her voice was prominent again as an unseen phone operator in Ziegfeld Follies (1945). Audrey played one of her rare pure-heart roles in The Cockeyed Miracle (1946). At this point she began to establish herself in the exciting "film noir" market.
Among the certified classics she participated in were The Postman Always Rings Twice (1946) in which she had a small role as John Garfield's blonde floozie pick-up. Things brightened up considerably with Lady in the Lake (1946) co-starring Robert Montgomery as detective Philip Marlowe. The film was not well received and is now better remembered for its interesting subjective camera technique. Audrey's first hit as a femme fatale co-star came on loanout to Warner Bros. In The Unsuspected (1947), she cemented her dubious reputation in "B" noir as a trampy, gold-digging niece married to alcoholic Hurd Hatfield. She then went on a truly enviable roll with High Wall (1947), as a psychiatrist to patient Robert Taylor, The Saxon Charm (1948) with Montgomery (again) and Susan Hayward, Alias Nick Beal (1949) as a loosely-moraled "Girl Friday" to Ray Milland, the boxing film The Set-Up (1949) as the beleaguered wife of washed-up boxer Robert Ryan, Any Number Can Play (1949) with Clark Gable and as a two-timing spouse in Tension (1949) with Richard Basehart.
Although the studio groomed Audrey to become a top star, it was not to be. Perhaps because she was too good at being bad. The 1950s film scene softened considerably and MGM began focusing on family-styled comedy and drama. Audrey's tough-talking dames were no longer a commodity and MGM soon dropped her in 1951. She signed for a time with Columbia Pictures and 20th Century Fox as well but her era had come and gone. Film offers began to evaporate. At around this time she married Leo Fred, a doctor, and instead began focusing on marriage and family.
TV gave her career a slight boost in the 1960s and 1970s, including regular roles in Cimarron City (1958) and Our Man Higgins (1962) as a suburban mom opposite Stanley Holloway's British butler. After a period of semi-retirement, she came back to TV to replace Jayne Meadows in the popular television series Medical Center (1969) starring Chad Everett and James Daly. She played Nurse Wilcox, a recurring role, for four seasons (1972-1976). The 70-year-old Totter retired after a 1987 guest role on "Murder, She Wrote." Her husband died in 1996. On December 12, 2013, Audrey Totter died at age 95 in West Hills, California.- Actress
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Madeleine Lebeau was born on 10 June 1923 in Antony, Seine [now Hauts-de-Seine], France. She was an actress, known for Casablanca (1942), 8½ (1963) and Gentleman Jim (1942). She was married to Tullio Pinelli and Marcel Dalio. She died on 1 May 2016 in Estepona, Malaga, Spain.- Actress
The daughter of actress Geneviève Sorya, in 1948 she played the part of Juliette in The Lovers of Verona (1949). During the 1950s and 1960s she made various films, including Montparnasse 19 (1958) and La Dolce Vita (1960), but only Lola (1961) , Jacques Demy, and A Man and a Woman (1966) Claude Lelouch saw major success. With the latter she had, but did not use, the chance to establish herself in America. Therefore she was only participating in second-row productions in Europe and America.- Angela Stevens was born on 8 May 1925 in Eagle Rock, Los Angeles, California, USA. She was an actress, known for Creature with the Atom Brain (1955), Outlaw Women (1952) and Blunder Boys (1955). She was married to George F. Zika. She died on 17 March 2016 in Canyon Lake, Riverside County, California, USA.
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Diana Dors was born Diana Mary Fluck on October 23, 1931 in Swindon, Wiltshire, England. She and her mother both nearly died from the traumatic birth. Because of the trauma, her mother lavished on Diana anything and everything she wanted--clothes, toys and dance lessons were the order of the day. Diana's love of films began when her mother took her to the local movies theaters. The actresses on the screen caught Diana's attention and she said, herself, that from the age of three she wanted to be an actress. She was educated in the finest private schools, much to the chagrin of her father (apparently he thought private education was a waste of money). Physically, Diana grew up fast. At age 12, she looked and acted much older than what she was. Much of this was due to the actresses she studied on the silver screen and Diana trying to emulate them. She wanted nothing more than to go to the United States and Hollywood to have a chance to make her place in film history. After placing well in a local beauty contest, Diana was offered a role in a thespian group (she was 13).
The following year, Diana enrolled at the London Academy of Music and Dramatic Art (LAMDA) to hone her acting skills. She was the youngest in her class. Her first fling at the camera was in The Shop at Sly Corner (1947). She did not care that it was a small, uncredited role; she was on film and at age 16, that's all that mattered. That was quickly followed by Dancing with Crime (1947), which consisted of nothing more than a walk-on role. Up until this time, Diana had pretended to be 17 years old (if producers had known her true age, they probably would not have let her test for the role). However, since she looked and acted older, this was no problem. Diana's future dawned bright in 1948, and she appeared in no less than six films. Some were uncredited, but some had some meat to the roles. The best of the lot was the role of Charlotte in the classic Oliver Twist (1948). Throughout the 1950s, she appeared in more films and became more popular in Britain. Diana was a pleasant version of Marilyn Monroe, who had taken the United States by storm. Britain now had its own version.
Diana continued to play sexy sirens and kept seats in British theaters filled. She really came into her own as an actress. She was more than a woman who exuded her sexy side, she was a very fine actress as her films showed. As the 1960s turned into the 1970s, she began to play more mature roles with an effectiveness that was hard to match. Films such as Craze (1974), Swedish Wildcats (1972), The Amorous Milkman (1975) and Three for All (1975) helped fill out her resume. After filming Steaming (1985), Diana was diagnosed with cancer, which was too much for her to overcome. The British were saddened when word came of her death at age 52 on May 4, 1984 in Windsor, Berkshire, England.- Actress
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Petite, attractive Mari Blanchard rarely managed to get the lucky breaks. The daughter of an oil tycoon and a psychotherapist, she suffered from severe poliomyelitis from the age of nine, which denied her a hoped-for dancing career. For several years, she worked hard to rehabilitate her limbs from paralysis, swimming and later even performing on the trapeze at Cole Brothers Circus. At the urging of her parents, she then attended the University of Southern California, where she studied international law before dropping out nine units short of a degree. Her university studies did not lead to a career either. Sometime in the late 1940s, she joined the Conover Agency as an advertising model and, at the same time, was promoted by famed cartoonist and writer Al Capp, becoming the inspiration for one of his Li'l Abner characters.
As the result of an advertisement on the back page of the Hollywood Reporter, Mari was signed to a contract with Paramount. However, her early experience in the movie business proved an unhappy one, most of her roles being walk-ons and bit parts. Ten Tall Men (1951), for example, limited her to a token stroll down a street, twirling a parasol and smiling seductively at members of the Foreign Legion. It wasn't until Mari joined Universal that her fortunes improved somewhat, with a co-starring role (opposite Victor Mature) in The Veils of Bagdad (1953). After that, it was all downhill again. Burt Lancaster, co-producer and star (with Gary Cooper of the excellent A-grade western Vera Cruz (1954), had requested Mari as his leading lady, but Universal refused her release to United Artists and forbade her to accept the lucrative role (Denise Darcel ended up getting the part). Mari then lost the lead in a much lesser picture,Saskatchewan (1954), to Shelley Winters. Instead, she was cast as Venusian Queen Allura in one of the least exciting outings by Universal's leading comic duo, Abbott and Costello Go to Mars (1953).
Mari did end up with a respectable starring role in the western Destry (1954) opposite Audie Murphy. A remake of the classic Destry Rides Again (1939), she was cast in the Marlene Dietrich part and took great pains to affect a totally different look, darkening her hair so as not to be compared to the great star. Even the name of her character was changed from 'Frenchy' to 'Brandy'. "Destry" was not all smooth sailing. There was tension between her and director George Marshall (who had also directed the original version) and Mari suffered a facial injury as the result of a fight scene. The film was critically well received, but unfortunately Universal failed to renew its contract with Miss Blanchard, and her career then went into free fall.
Freelancing for lesser studios, she played a TB victim injected with a serum turning her into a Mr. Hyde-like killer in the lurid She Devil (1957) (during filming she nearly died of acute appendicitis). Mari then appeared for Republic in the eminently forgettable No Place to Land (1958) before briefly starring in her own short-lived adventure series Klondike (1960). Her last role of note was as the cheerful and likeable town madam in the rollicking John Wayne western comedy McLintock! (1963). Sometime that year, Mari Blanchard developed the cancer which was to claim her life in 1970 at the age of just 47.- A pert and glamorous redhead, Jacqueleen Loughery came to fame as the first ever Miss USA beauty pageant winner in 1952, held at Long Beach, California.
Just two years prior, the Brooklyn-born daughter and only child of Joseph Clark Loughery (a captain in the U.S. Navy) and Ellen (Avery) Loughery had been crowned Miss New York State. She wasn't especially keen to continue competing for further titles, but later claimed to have been talked into it by 'Uncle Miltie' (Milton Berle). She eventually finished in ninth place for the Miss Universe event. On the strength of this, she was hired by the Ward Kent modeling agency. Late that year, she also secured a contract with Universal-International, declaring "I want to become a dramatic actress".
For the first five years of her acting career, that ambition remained unfulfilled. Her appearances were merely confined to bit parts, walk-ons or cameos. Her fortunes improved a little when she was cast as the female lead in the Dean Martin-Jerry Lewis comedy Pardners (1956). Jackie then scored a leading regular television role in a western series as Letty, the niece of Judge Roy Bean (1955). Her next film, The D.I. (1957), was a wartime drama about a tough drill instructor. It starred Jack Webb and featured Jackie as his romantic interest.
Real romance developed during filming and Jackie married Webb in June 1958 in Studio City (having divorced her previous husband, the actor and singer Guy Mitchell, on the grounds of mental cruelty and abusiveness). Ultimately, her second marriage proved equally turbulent and faltered in 1964, Jacqueline citing the same reasons for divorcing Webb as had his previous two wives, namely 'being married to his work'.
Dropped by Universal, she briefly found a supporter in Howard Hughes, who signed her for RKO. However, no film opportunities arose from this. As a freelancer, she found work in a couple of B-grade potboilers (even headlining in an obscure drama, The Hot Angel (1958)) and in five episodes of The George Burns and Gracie Allen Show (1950). The remainder of her tenure on the screen comprised only a few sporadic TV guest appearances in prime time shows like Bat Masterson (1958), Burke's Law (1963), and Perry Mason (1957) .
In 1969, now almost forty and finding fewer and fewer worthy roles, she threw in the towel, saying "you don't quit acting, acting quits you." That year, she was married to one Jack William Schwietzer. This union may have proved the adage of 'third time lucky', as it endured for four decades until his death in 2009. - Actress
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Kerstin Anita Marianne Ekberg was born on September 29, 1931 in Malmo, Sweden. Growing up with seven brothers and sisters was not an adventure, but Anita's adventure began when she was elected Miss Sweden in 1950. She did not win the Miss Universe contest but she got a modeling contract in the United States. She quickly got a film contract with Howard Hughes's RKO that did not lead anywhere (but Anita herself has said that Hughes wanted to marry her). Instead, she started making movies with Universal, small roles that more often than not only required her to look beautiful. After five years in Hollywood, she found herself in Rome, where Federico Fellini's La Dolce Vita (1960) meant her breakthrough. She stayed in Italy and made around 20 movies during the next ten years, some roles memorable, some to be forgotten. Her two marriages gave her a great deal of attention from the press. During the 1970s, the roles became less frequent, but she made a marvellous comeback with Fellini's Intervista (1987).
Anita Ekberg retired from acting in 2002 after 50 years in the motion picture industry. In December 2011, she was destitute following three months in a hospital with a broken thigh in Rimini, during which her home was robbed of jewelry and furniture, and her villa was badly damaged in a fire. Ekberg applied for help from the Fellini Foundation, which also found itself in difficult financial straits. She died at age 83 from complications of an enduring illness on January 11, 2015 at the clinic San Raffaele in Rocca di Papa, Italy. Ekberg had a new film project with exclusively female Italian producer "Le Bestevem", in which her character, as movie star, should have been recovered again as an icon of the silver screen, a project that was interrupted by her death.
Her funeral was held on January 14, 2015, at the Lutheran-Evangelical Christuskirche in Rome, after which her body was cremated and her remains were buried at the cemetery of Skanor Church in Sweden.- A reliable featured player and occasional co-star, actress Jeff Donnell was born Jean Marie Donnell in a boys' reformatory in South Windham, Maine in 1921, the younger of schoolteacher Mildred and penologist Howard's two daughters. She took piano and dance lessons during her childhood in Maryland; she loved the popular "Mutt and Jeff" cartoon strip so much that she gave herself the nickname "Jeff."
She studied at the Yale School of Drama and performed briefly in summer stock before marrying her first husband at 19: Bill Anderson, a drama teacher from her Boston alma mater, Leland Powers Drama School. Together they started the Farragut Playhouse in Rye, New Hampshire. Almost immediately a Columbia Studios talent scout noticed her in a play there and quickly signed her.
Whisked to Los Angeles, Jeff made her first appearance in the war-era movie My Sister Eileen (1942) while husband Bill was hired on as a dialogue director. Hardly the chic, glamour-girl type, Jeff possessed a perky, unpretentious, tomboyish quality that worked comfortably in unchallenging "B" escapism --usually the breezy girlfriend or spirited bobbysoxer. Typical of her movie load at the time were the fun but innocuous Doughboys in Ireland (1943), What's Buzzin', Cousin? (1943), Nine Girls (1944), A Thousand and One Nights (1945), Carolina Blues (1944), and Eadie Was a Lady (1945). She also enlivened a number of musical westerns that prominently featured Ken Curtis (Festus of "Gunsmoke").
On a rare occasion, Jeff found herself in "A" pictures, most notably the Bogart film noir classic In a Lonely Place (1950), but more often than not she played the obliging or supportive friend of the leading lady. Unable to break away from her established "B" ranking, she later tried a move to RKO Studios (1949) but fared no better or worse. She did make a successful move to TV in the early 50s and was seen in a number of comedy and dramatic parts.
Long separated from and finally divorcing her first husband in 1953 (they had one son, Michael, and an adopted daughter, Sarah Jane), she married rising film actor Aldo Ray in 1954, but the marriage crumbled within two years, beset by drinking problems; she also suffered a miscarriage. She went on to marry and divorce twice more. As the 1950s rolled on, she earned steady work on TV, bringing to life comedian George Gobel's often-mentioned wife Alice on the sitcom The George Gobel Show (1954) for four seasons. She also had the opportunity to play Gidget's mom in a couple of the popular lightweight movies of the early 1960s -- Gidget Goes Hawaiian (1961) and Gidget Goes to Rome (1963).
Most daytime fans will remember Jeff's long-running stint on the soap drama General Hospital (1963) as Stella Fields, the Quartermain housekeeper, which started in 1979 and lasted until her death in 1988. Dogged by ill health in later years (including a serious bout with Addison's disease), Jeff died peacefully of a heart attack in her sleep at age 66. - Actress
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Angélica Aragón was born on 11th July, in the "Central Médica" clinic, in Mexico City. Raised in a family of intellectuals and educated at some of the most celebrated schools in Mexico, like "The Modern American College", "The Sierra Nevada School", "The French - Mexican High School", Angélica chose to seek an academic degree at "The London Academy of Music and Dramatic Arts" (LAMDA). There, for almost seven years, Angélica studied acting, pantomime, interpretative art, as well as canto and dance. In order to complete her histrionic education, she followed courses offered by "The London School of Contemporary Dance", "The National Dance Academy of India" and by the Indian "Kerala Kelandam Dance School". Back to Mexico in the early 80s, she started working in the telenovelas industry, for a local television company "Televisa". After giving life to a wide range of characters, either week or strong, subdued or independent, sociable or secluded, kind or evil, she decided to change her production company and signed for a young, but far from intimidating production house "Argos Televisión", which also brought her international acclaim for the extraordinary interpretation in "Mirada de Mujer" ("A Woman's Glance"). The sad, but true story of María Inés gained the sympathy of many other "women's glances" from all over the world. Apart from that, she had starred in no less than 24 movies, both Mexican and North American, among which the best known are "The Evil That Men Do" or "A Walk in the Clouds". As a theater actress, Angélica, who performed plays like "Maquillaje" or "Aquila Real" to name just a few, proved once more her inegalable talent. In 1999, she first directed a play, focusing on social themes "Tengamos el Sexo en Paz". Now, at the beginning of 2000, Angélica is back on the world's stage, with another telenovela inspired by Mexico's social, political and educational realities, called "Todo Por Amor", produced by "Argos Televisión" and broadcast by "TvAzteca".- Actress
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Ida was born in London to a show business family. In 1932, her mother took Ida with her to an audition and Ida got the part her mother wanted. The picture was Her First Affaire (1932). Ida, a bleached blonde, went to Hollywood in 1934 playing small, insignificant parts. Peter Ibbetson (1935) was one of her few noteworthy movies and it was not until The Light That Failed (1939) that she got a chance to get better parts. In most of her movies, she was cast as the hard, but sympathetic woman from the wrong side of the tracks. In The Sea Wolf (1941) and High Sierra (1940), she played the part magnificently. It has been said that no one could do hard-luck dames the way Lupino could do them. She played tough, knowing characters who held their own against some of the biggest leading men of the day - Humphrey Bogart, Ronald Colman, John Garfield and Edward G. Robinson. She made a handful of films during the forties playing different characters ranging from Pillow to Post (1945), where she played a traveling saleswoman to the tough nightclub singer in The Man I Love (1946). But good roles for women were hard to get and there were many young actresses and established stars competing for those roles. She left Warner Brothers in 1947 and became a freelance actress. When better roles did not materialize, Ida stepped behind the camera as a director, writer and producer. Her first directing job came when director Elmer Clifton fell ill on a script that she co-wrote Not Wanted (1949). Ida had joked that as an actress, she was the poor man's Bette Davis. Now, she said that as a director, she became the poor man's Don Siegel. The films that she wrote, or directed, or appeared in during the fifties were mostly inexpensive melodramas. She later turned to television where she directed episodes in shows such as The Untouchables (1959) and The Fugitive (1963). In the seventies, she made guest appearances on various television show and appeared in small parts in a few movies.- Actress
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The daughter of a noted surgeon, Dana Wynter was born Dagmar Winter in Berlin, Germany, and grew up in England. When she was 16 her father went to Morocco, reportedly to operate on a woman who wouldn't allow anyone else to attend her; he visited friends in Southern Rhodesia, fell in love with it and brought his daughter and her stepmother to live with him there. Wynter later enrolled as a pre-med student at Rhodes University (the only girl in a class of 150 boys) and also dabbled in theatrics, playing the blind girl in a school production of "Through a Glass Darkly", in which she says she was "terrible."
After a year-plus of studies, she returned to England and shifted gears, dropping her medical studies and turning to an acting career. She was appearing in a play in Hammersmith when an American agent told her he wanted to represent her. She left for New York on November 5, 1953, "Guy Fawkes Day," a holiday commemorating a 1605 attempt to blow up the Parliament building. "There were all sorts of fireworks going off," she later told an interviewer, "and I couldn't help thinking it was a fitting send-off for my departure to the New World."
Wynter had more success in New York than in London, acting on TV (Robert Montgomery Presents (1950), Suspense (1949), Studio One (1948), among others) and the stage before "going Hollywood" a short time later. The willowy, dark-eyed actress appeared in over a dozen films, worked in "Golden Age" television (such as Playhouse 90 (1956)) and even co-starred in her own short-lived TV series, the globe-trotting The Man Who Never Was (1966). Married and divorced from well-known Hollywood lawyer Greg Bautzer, Wynter, once called Hollywood's "oasis of elegance", divided her time between homes in California and County Wicklow, Ireland until her death.- Actress
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Luciana Paluzzi's an Italian actress, best known for playing SPECTRE assassin ,Fiona Volpe, in the fourth James Bond film, Thunderball.
In the film, Thunderball she had auditioned for the part of the lead Bond girl, Dominetta "Domino" Petacchi, but producers cast Claudine Auger, changing the Domino character from an Italian to a Frenchwoman and renaming her Dominique Derval.
Paluzzi's first film was an uncredited walk-on part in Three Coins in the Fountain (1954).- Producer
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Born in Boston, Donna was a child performer: she won an amateur talent show, sang a jingle for Meadow Gold Ice Cream, performed on radio shows, appeared as a guest on the The Mickey Mouse Club (1955), and recorded several singles, all before she was 10 years old. In 1963 she was chosen, after a nationwide talent search, to become the spokesperson for Dr. Pepper and subsequently became the one and only "Dr Pepper Girl". For five years, she was on billboards, in magazines, and on television and in movies as the teenage spokesperson for the soft drink. For her personal appearances, she designed and sewed most of her own costumes, a talent which would come in very handy later in her career. The Dr. Pepper gig led to a role in the second Frankie Avalon / Annette Funicello beach movie, Muscle Beach Party (1964). She was originally assigned a non-speaking role holding a soft-drink bottle (guess which soft drink), but the producers decided to let her perform a song instead. She performed the Brian Wilson-penned "Muscle Bustle" with Dick Dale, and the song's success led to her appearing in a featured musical number in later beach movies. Her brunette beauty and strong voice were welcome additions to the films. She could do no more than sing and speak a few lines in those pictures because her contract with Dr. Pepper forbade her to wear any outfit that showed her navel. She became a regular on the ABC shows Shindig! (1964) and The Milton Berle Show (1966). In 1968 she was even offered the lead in a series called "Two for Penny" to be produced by Aaron Spelling and Danny Thomas. Instead she chose marriage and retirement from performing. Her second husband, Jered Cargman was a member of the 1960s studio surf band Fantastic Baggys. From 1998-2008, Donna and her husband created fashion retailer ADASA Hawaii, which sold many of Donna's own '60's-inspired designs. Donna still sings and writes songs.- Sultry, smoky-voiced brunette actress, a former model, who was put under contract by 20th Century-Fox in the early 1950s. She had a showy role and acquitted herself well in the thriller Violent Saturday (1955), but her career quickly lost momentum when Fox didn't renew her contract in 1956. She later achieved cult status as the disembodied fiancée in the cheapjack sci-fi film "classic" The Brain That Wouldn't Die (1962).
- Lovely brunette Marilyn Hanold was born the second of six children on June 9, 1938 in Jamaica, Long Island, New York. She's of German descent. Her father was a lieutenant with the New York City police department. Hanold graduated from the World Secretarial School in New York and worked as a legal secretary for a big league patent attorney for 18 months. In August, 1957 Marilyn joined the chorus line of the El Rancho in Las Vegas, Nevada -- she went on to be featured in the tabloid revue "Scandalettes" at the El Rancho -- and was a showgirl at Ciro's. Marilyn was working as a showgirl at Frank Sennes' "Moulin Rouge" in Hollywood, California when she was spotted by a William Morris Agency representative for George Gobel's new stage production "Riviera Revue." Hanold graced the cover of the February, 1959 issue of "Photo Life" magazine and was the Playmate of the Month in the June, 1959 issue of "Playboy." Moreover, she also acted in a handful of films and TV shows throughout the 50s and 60s. Hanold married oil tycoon Rulon Keaton Neilson in 1967; the couple had three daughters altogether. Marilyn now lives in Salt Lake City, Utah and remains prominent in charities and gala events held in the Salt Lake City area.
- Magda Konopka was born on 15 March 1943 in Warsaw, Mazowieckie, Poland. She is an actress, known for The Persuaders! (1971), Department S (1969) and When Dinosaurs Ruled the Earth (1970). She was previously married to Jean-Louis Dessy.
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Of Danish descent and born in Syracuse, New York, Phyllis Kirk worked as a waitress and a perfume counter clerk before she began a modeling career. Stage roles ensued before Hollywood beckoned. She was a contract player at MGM and then Warner Brothers, where in her most famous role she was stalked by maniacal sculptor Vincent Price in House of Wax (1953). Kirk's talents were better showcased on the small screen, where she had dramatic roles on many prestigious series and consequently made the covers of TV Guide and Life magazines. Probably her best-known TV role was Nora Charles, the daffy, fast-talking wife of Peter Lawford on The Thin Man (1957). During her acting career, she also worked as an interviewer and writer for the ACLU. After her final roles in the 1970s, she went to work in public relations before retiring.- Actress
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Patricia Donahue was born on 6 March 1925 in Brooklyn, New York, USA. She was an actress, known for The Wide World of Mystery (1973), Thriller (1973) and Department S (1969). She was married to Euan Lloyd, Sam Donahue and George Gerald Homer Hogan. She died on 11 June 2012 in the USA.- Actress
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A gorgeous, pneumatic blonde rival to pouty sex kitten Ann-Margret, singer/dancer/actress Joey Heatherton was also a product of the swinging 60s and taunted the film and TV variety scenes with her own version of a purring young sexpot. Born in 1944 as "Davenie Johanna Heatherton" and the daughter of veteran song-and-dance man Ray Heatherton (1909-1997), Joey trained in ballet as a youngster and started her career off as a teen performer on the New York stage as one of the children in "The Sound of Music". She also began recording about that same time. She went on to gain national exposure as a regular on Perry Como's Kraft Music Hall (1948), portraying an innocent young coed who developed a crush on the star. The gimmick worked and Joey eventually tried to parlay this success into an acting career.
The payoff worked. She started to appear in such TV dramas as The Virginian (1962), The Doctors and the Nurses (1962) and Route 66 (1960). For a time, she showed extreme promise, playing troubled, vulnerable, often neurotic young girls opposite cinema's established or up-and-coming talent of the day, including the films, Twilight of Honor (1963) with Richard Chamberlain and Nick Adams, Where Love Has Gone (1964) starring Bette Davis and Susan Hayward, and My Blood Runs Cold (1965) opposite Troy Donahue. The promise was short-lived, however, but since music was deemed her forte anyway, Joey wisely refocused on her musical gifts and went on to project a mod, sulky "Lolita" image fully-decked out in mini-skirts and go-go boots. A much better singer than Ann-Margret and an equally good dancer, she appealed to the male masses in droves with her high-octane dance moves and saucy glances as huge selling points. By the late 60s, the talented, all-round entertainer had developed into a solid Vegas showroom and TV variety favorite. On the plus side as well, she had soldiers swooning on both land and sea as she toured with Bob Hope on his USO tours. She proved quite fetching in the TV movie, The Ballad of Andy Crocker (1969) with Lee Majors, and was part of the eclectic casting in Of Mice and Men (1968) that toplined George Segal and Nicol Williamson. On top of all this, she was seductively pitching RC Cola and Serta mattresses in TV ads on a regular basis.
Joey's problems began in 1971, stemming with a major tabloid-troubled marriage and divorce from Lance Rentzel. The 70s also saw a radical change in audience taste as witnessed by her diminishing popularity. Despite showing extreme potential as a Billboard chart-maker with a "Top 40" pop hit in the Ferlin Husky song, "Gone", in 1972, Hollywood made it nearly impossible for her to escape the blast-from-the-past image, finding herself more and more unemployable as the decade wore on. She did enjoy a fun, short-lived fling on a summer variety series, that co-starred her beloved dad Ray Heatherton, (Joey & Dad (1975)).
Unfortunately, Joey encountered other problems in the throes of her career decline, with a life-threatening substance addiction and eating disorder which deeply hindered any game attempts to climb back into favor. She was crassly featured in the critically-panned Richard Burton starrer, Bluebeard (1972); portrayed Xaviera Hollander in the lurid The Happy Hooker Goes to Washington (1977) to little fanfare; and then pretty much disappeared, except as eccentric tabloid fodder or popping up unexpectedly in the cult John Waters film, Cry-Baby (1990), or the April 1997 Playboy spread.
On her side, however, she is a survivor and Hollywood has always encouraged big comeback stories. If anybody has ever proven to be a certifiable talent deserving of such, it's Joey Heatherton. She remains, however, a prime example of how devastating and destructive a fickle entertainment business can be.- Michele Carey was born on 26 February 1942 in Annapolis, Maryland, USA. She was an actress, known for El Dorado (1966), Live a Little, Love a Little (1968) and The Wild Wild West (1965). She was married to Fred G. Strebel. She died on 21 November 2018 in Newport Beach, California, USA.
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A vintner's daughter, she was trained as a ballet dancer at the Budapest Opera. While still in her teens, she began on stage in amateur theatricals. By the early 1930s, she performed professionally in Salzburg, Berlin and London, appearing in the plays 'Wonder Bar' and 'Words and Music' (with John Mills). Arrived in New York in 1932 with next to no knowledge of English, but proved a fast learner. The following year, she went on to play Polly Peachum in Brecht's 'The Threepenny Opera' on Broadway, co-starring Burgess Meredith. Came to Hollywood a year later and made a notable impression for her interpretation of the title song in the technicolor short La Cucaracha (1934). Otherwise, she was seen in an assortment of decorative senoritas (Dancing Pirate (1936),Law of the Pampas (1939), etc) and even an Eskimo. Her most notable roles were in support, such as the half-caste mistress Neleta in Anthony Adverse (1936) and Lydia in Waterloo Bridge (1940).- Sly, manipulative, dangerously cunning and sinister were the key words that best described the roles that Gale Sondergaard played in motion pictures, making her one of the most talented character actresses ever seen on the screen. She was educated at the University of Minnesota and later married director Herbert J. Biberman. Her husband went to find work in Hollywood and she reluctantly followed him there. Although she had extensive experience in stage work, she had no intention of becoming an actress in film. Her mind was changed after she was discovered by director Mervyn LeRoy, who offered her a key role in his film Anthony Adverse (1936); she accepted the part and was awarded the very first Academy Award as Best Supporting Actress. LeRoy originally cast her as the Wicked Witch in The Wizard of Oz (1939), but she felt she was not right for that role. Instead, she co-starred opposite Paul Muni in The Life of Emile Zola (1937), a film that won Best Picture in 1937. Sondergaard's most-remembered role was that of the sinister and cunning wife of a husband murdered by Bette Davis' character in The Letter (1940). Sondergaard continued her career rise in films such as Juarez (1939), The Mark of Zorro (1940), The Black Cat (1941), and Anna and the King of Siam (1946). Unfortunately, she was blacklisted when she refused to testify during the McCarthy-inspired "Red Scare" hysteria in the 1950s. She eventually returned to films in the 1960s and made her final appearance in the 1983 film Echoes (1982). Gale Sondergaard passed away of an undisclosed illness at the Motion Picture and Television Hospital in Woodland Hills, California, at the age of 86.
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Inez Cooper was born on 22 March 1922 in Atlanta, Georgia, USA. She was an actress, known for I Married an Angel (1942), Flight to Nowhere (1946) and Mr. and Mrs. North (1942). She was married to Fred H. Davidson. She died on 1 December 1993 in Montgomery, Alabama, USA.- Frances Gifford had a somewhat unorthodox introduction to the movie business. Born and raised in Long Beach, California, she had no ambition to be an actress, and in fact had applied to UCLA when, at age 16, she and a friend got to visit the Samuel Goldwyn Studios, where they watched a movie being shot. A studio exec saw her and asked if she would take a screen test. She did, the studio was impressed with the result and put her under contract. Nothing much came of it, however, other than bit parts, and she moved to RKO. Nothing much happened there, either. She had married actor James Dunn and decided to retire, which she did, in 1938. Off the screen for almost two years, she got a small part in Mr. Smith Goes to Washington (1939), and her career began to revive. She was signed by Paramount, which soon loaned her to Republic, where she made the film she is probably most remembered for: the serial Jungle Girl (1941), based on an Edgar Rice Burroughs story.
Unfortunately, her career never really took off, and she bounced around among several studios. In 1948 she was involved in an auto accident in which she received severe head injuries. Although she seemed to recover physically, her career took a nosedive, and she made her last film in 1953. In 1958 newspaper stories reported that as a result of the injuries sustained in the accident, she was admitted to a California state mental hospital. Nothing further was heard from her or about her until 1983, when a writer for a film magazine found her in Pasadena. She had apparently fully overcome her physical and mental problems and was working for the city library. She died of emphysema in Pasadena in 1994. - Actress
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Conchita Montenegro was born on 11 September 1911 in San Sebastián, Spain. She was an actress, known for The Woman and the Puppet (1929), Marido y mujer (1932) and Lola Montes (1944). She was married to Raul Roulien and Ricardo Giménez-Arnau. She died on 22 April 2007 in Madrid, Madrid, Spain.- Actress
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Vitina was born Dolores Vitina Marcus in Bensonhurst, Brooklyn, of Sicilian and Hungarian parentage to Frank Marcus and his wife Rose. In her teens, she studied ballet, learned to play the violin and worked briefly as a model for the Huntington Hartford Agency. At the age of 17, she began taking classes at Lee Strasberg's Actor's Studio. Adopting the first name of her Sicilian grandmother, she made her screen debut as Dolores Vitina, one of sixteen female dancers comprising The June Taylor Dancers, featured weekly on The Jackie Gleason Show (1952). Her motion picture debut followed soon after in the crime drama Never Love a Stranger (1958).
Between 1959 and 1970, Vitina appeared in many a classic TV show, her exotic, sultry looks ideally suited for casting as Native Americans: in Have Gun - Will Travel (1957) (as Della White Cloud, an Apache princess), in Death Valley Days (1952), Rawhide (1959), Gunsmoke (1955) and in The Virginian (1962). As a 'female Tarzan', she captured Napoleon Solo (Robert Vaughn) in an episode of The Man from U.N.C.L.E. (1964), set in Africa. As Kublai Khan's daughter, she was wooed by James Darren in The Time Tunnel (1966). After her introduction to producer Irwin Allen, sometime around 1959 or 1960, Vitina was often featured in Allen's fantasy or science fiction-themed productions. Her characters were regularly menaced by dinosaurs, phantoms and giant spiders, painted gold, or, more famously, green. Stranger still, was her romantic pursuit of the nefarious and cowardly Dr. Zachary Smith (Jonathan Harris) in the Lost in Space (1965) episode 'The Girl from the Green Dimension'. Her role as Athena, aka 'The Green Lady', has remained the one for which she is most fondly remembered and is also her own personal favorite.
After her retirement from acting in 1970, Vitina moved to Las Vegas. She worked for some time as a cocktail waitress before becoming a real estate broker under her married name Vitina Graham.- Actress
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Susan Hayward was born Edythe Marrener in Brooklyn, New York, on June 30, 1917. Her father was a transportation worker, and Susan lived a fairly comfortable life as a child, but the precocious little redhead had no idea of the life that awaited her. She attended public school in Brooklyn, where she graduated from a commercial high school that was intended to give students a marketable skill. She had planned on becoming a secretary, but her plans changed. She started doing some modeling work for photographers in the NYC area. By 1937, her beauty in full bloom, she went to Hollywood when the nationwide search was on for someone to play the role of Scarlett O'Hara in Margaret Mitchell's Gone with the Wind (1939). Although she--along with several hundred other aspiring Scarletts--lost out to Vivien Leigh, Susan was to carve her own signature in Hollywood circles. In 1937 she got a bit part in Hollywood Hotel (1937). The bit parts continued all through 1938, with Susan playing, among other things, a coed, a telephone operator and an aspiring actress. She wasn't happy with these bit parts, but she also realized she had to "pay her dues". In 1939 she finally landed a part with substance, playing Isobel Rivers in the hit action film Beau Geste (1939). In 1941 she played Millie Perkins in the offbeat thriller Among the Living (1941). This quirky little film showed Hollywood Susan's considerable dramatic qualities for the first time. She then played a Southern belle in Cecil B. DeMille's Reap the Wild Wind (1942), one of the director's bigger successes, and once again showed her mettle as an actress. Following that movie she starred with Paulette Goddard and Fred MacMurray in The Forest Rangers (1942), playing tough gal Tana Mason. Although such films as Jack London (1943), And Now Tomorrow (1944) and Deadline at Dawn (1946) continued to showcase her talent, she still hadn't gotten the meaty role she craved. In 1947, however, she did, and received the first of five Academy Award nominations, this one for her portrayal of Angelica Evans in Smash-Up: The Story of a Woman (1947). She played the part to the hilt and many thought she would take home the Oscar, but she lost out to Loretta Young for The Farmer's Daughter (1947). In 1949 Susan was nominated again for My Foolish Heart (1949) and again was up against stiff competition, but once more her hopes were dashed when Olivia de Havilland won for The Heiress (1949). Now, however, with two Oscar nominations under her belt, Susan was a force to be reckoned with. Good scripts finally started to come her way and she chose carefully because she wanted to appear in good quality productions. Her caution paid off, as she garnered yet a third nomination in 1953 for With a Song in My Heart (1952). Later that year she starred as Rachel Donaldson Robards Jackson in The President's Lady (1953). She was superb as Andrew Jackson's embittered wife, who dies before he was able to take office as President of the United States. After her fourth Academy Award nomination for I'll Cry Tomorrow (1955), Susan began to wonder if she would ever take home the coveted gold statue. She didn't have much longer to wait, though. In 1958 she gave the performance of her lifetime as real-life California killer Barbara Graham in I Want to Live! (1958), who was convicted of murder and sentenced to death in the gas chamber. Susan was absolutely riveting in her portrayal of the doomed woman. Many film buffs consider it to be one of the finest performances of all time, and this time she was not only nominated for Best Actress, but won. After that role she appeared in about one movie a year. In 1972 she made her last theatrical film, The Revengers (1972). She had been diagnosed with cancer, and the disease finally claimed her life on March 14, 1975, in Hollywood. She was 57.- Actress
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Kim Novak was born in Chicago, Illinois on February 13, 1933 with the birth name of Marilyn Pauline Novak. She was the daughter of a former teacher turned transit clerk and his wife, also a former teacher. Throughout elementary and high school, Kim did not get along well with teachers. She even admitted that she didn't like being told what to do and when to do it.
Her first job, after high school, was modeling teen fashions for a local department store. Kim, later, won a scholarship in a modeling school and continued to model part-time. Kim later worked odd jobs as an elevator operator, sales clerk, and a dental assistant. The jobs never seemed to work out so she fell back on modeling, the one job she did well.
After a stint on the road as a spokesperson for an appliance company, Kim decided to go to Los Angeles and try her luck at modeling there. Ultimately, her modeling landed her an uncredited role in the RKO production of The French Line (1953). The role encompassed nothing more than being seen on a set of stairs.
Later a talent agent arranged for a screen test with Columbia Pictures and won a small six month contract. In truth, some of the studio hierarchy thought that Kim was Columbia's answer to Marilyn Monroe. Kim, who was still going by her own name of Marilyn, was originally going to be called "Kit Marlowe". She wanted to at least keep her family name of Novak, so the young actress and studio personnel settled on Kim Novak.
After taking some acting lessons, which the studio declined to pay for, Kim appeared in her first film opposite Fred MacMurray in Pushover (1954). Though her role as "Lona McLane" wasn't exactly a great one, it was her classic beauty that seemed to capture the eyes of the critics. Later that year, Kim appeared in the film, Phffft (1954) with Jack Lemmon and Judy Holliday. Now more and more fans were eager to see this bright new star. These two films set the tone for her career with a lot of fan mail coming her way.
Her next film was as "Kay Greylek" in 5 Against the House (1955). The film was well-received, but it was her next one for that year that was her best to date. The film was Picnic (1955). Although Kim did a superb job of acting in the film as did her co-stars, the film did win two Oscars for editing and set decoration. Kim's next film was with United Artists on a loan out in the controversial Otto Preminger film The Man with the Golden Arm (1955). Her performance was flawless, but it was was Kim's beauty that carried the day. The film was a big hit.
In 1957, Kim played "Linda English" in the hit movie Pal Joey (1957) with Frank Sinatra and Rita Hayworth. The film did very well at the box office, but was condemned by the critics. Kim really didn't seem that interested in the role. She even said she couldn't stand people such as her character.
That same year, Novak risked her career when she started dating singer/actor Sammy Davis Jr.. The interracial affair alarmed studio executives, most notably Harry Cohn, and they ended their relationship in January of the following year. In 1958, Kim appeared in Alfred Hitchcock's, now classic, Vertigo (1958) with James Stewart. This film's plot was one that thoroughly entertained the theater patrons wherever it played. The film was one in which Stewart's character, a detective, is hired to tail a friend's wife (Kim) and witnesses her suicide. In the end, Stewart finds that he has been duped in an elaborate scheme.
Her next film was Bell Book and Candle (1958) which was only a modest success. By the early 1960s, Kim's star was beginning to fade, especially with the rise of new stars or stars that were remodeling their status within the film community. With a few more nondescript films between 1960 and 1964, she landed the role of "Mildred Rogers" in the remake of Of Human Bondage (1964). The film debuted to good reviews.
In the meantime, Kim broke off her engagement to director Richard Quine and embarked on a brief dalliance with basketball player Wilt Chamberlain. While filming The Amorous Adventures of Moll Flanders (1965), she had a romance with co-star Richard Johnson, whom she married, but the marriage failed the following year.
Kim stepped away from the cameras for a while, returning in 1968 to star in The Legend of Lylah Clare (1968). It was a resounding flop, perhaps the worst of her career. However, after that, Kim, basically, was able to pick what projects she wanted. After The Great Bank Robbery (1969) in 1969, Kim was away for another four years until she was seen with then-boyfriend Michael Brandon in a television movie called The Third Girl from the Left (1973), playing a veteran Las Vegas showgirl experiencing a midlife crisis.
In a personal development, Novak met equine veterinarian Robert Malloy in October 1974 and the couple married in 1976. Subsequent films were not the type to get the critics to sit up and take notice, but afforded her the opportunity to work with strong talent. She appeared to good effect in Satan's Triangle (1975), Just a Gigolo (1978), The Mirror Crack'd (1980) and Malibu (1983).
In 1986 and 1987, Kim played, of all people, "Kit Marlowe" in the TV series Falcon Crest (1981). In 1990, she starred alongside Ben Kingsley in The Children (1990), a fine independent film shot in Europe. It was not widely distributed, thus few got to see Novak giving one of her most powerful performances.
Her last film, on the silver screen, was Liebestraum (1991), in which she played a terminally ill woman with a past. The film was a major disappointment in every aspect. Kim clashed with director Mike Figgis over how to play her character. Consequently, the role was cut to shreds. Kim has ruled out any plans for a comeback and says she just isn't cut out for Hollywood.
Fortunately, she has found long-lasting happiness outside her career. Today she lives in Eagle Point, Oregon with her husband Bob, on a ranch where they raise horses and llamas. Kim is also an accomplished artist and has exhibited her painting in galleries around the country. She enjoys riding, canoeing and expressing herself through paint, poetry and photography.- Actress
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Karen Carlson was born on 15 January 1945 in Shreveport, Louisiana, USA. She is an actress and producer, known for Climb Against the Odds (1999), The Octagon (1980) and Centennial (1978). She was previously married to Devin Payne and David Soul.- Actress
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War-era songstress Ginny Simms was born Virginia Simms on May 23, 1913, in Texas but was raised in California, which accounts for her lack of a Southern accent in her speaking/singing voice. Though she studied piano as a child, it was her vocal gifts that launched her career, which started when she formed a singing trio while studying at Fresno State Teachers College. Ginny was performing at a club in San Francisco when she was heard by bandleader/radio star Kay Kyser. She became his featured singer and the big attraction of Kay Kyser's Kollege of Musical Knowledge, a comedy revue done in the style of a quiz show with music. They also became a romantic item. In addition to radio, she kept busy recording swing and pop albums.
After Ginny broke into films as a guest vocalist in three of Kyser's films for RKO--That's Right - You're Wrong (1939), You'll Find Out (1940) and Playmates (1941), she decided to stay in Hollywood, abandon the tour scene with Kyser, and seek solo fame and fortune. Kyser would replace Ginny with Georgia Carroll both professionally and personally and they later married. Ginny earned her own popular radio show and involved herself deeply in the war effort, earning praise for her tireless work. Some of her well-known recordings (with and without Kyser) include "Deep Purple," "Indian Summer," "I'd Like to Set You to Music," "I Can't Get Started," "I Love Paris," and "Stormy Weather." A dazzling beauty with high cheekbones and megawatt smile, Ginny seemed made for the screen. She co-starred with Bud Abbott and Lou Costello in one of their earlier and funniest comedies, Hit the Ice (1943), and scored some important second-lead roles over at MGM with Broadway Rhythm (1944) with George Murphy and Gloria DeHaven, in which she played a movie star who sang "All the Things You Are," and the Cole Porter biopic Night and Day (1946) starring Cary Grant and Alexis Smith, in which she sang some of Porter's best loved standards ("I've Got You Under My Skin," "Just One of Those Things," "I Get A Kick Out of You" and "You're the Top"), but her career lost momentum rather quickly (the story at the time was that she had turned down a marriage proposal by newly divorced MGM head Louis B. Mayer, who retaliated by immediately dropping her contract at the studio).
Ginny left Hollywood altogether in 1951 and her recording career ended not long after. She subsequently retired and ran a travel agency for a time while developing an interest in interior decorating (her first husband, Hyatt Dehn, was the man who started the Hyatt Hotel chain, for which she did much of the interior decorating). She also was involved in real estate with third husband Donald Eastvold. The mother of two sons from her first marriage, Ginny died of a heart attack in 1994 at age 78.- Actress
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Donna Reed was born in the midwestern town of Denison, Iowa, on January 27, 1921, as Donna Belle Mullenger. A small town - a population of less than 3,000 people - Denison was located by the Boyer River, and was the county seat of Crawford County. Donna grew up as a farm girl, much like many young girls in western Iowa, except for one thing - Donna was very beautiful. That wasn't to say that others weren't as pretty, it's just that Donna's beauty stood out from all the other local girls, so much so that she won a beauty contest in Denison. Upon graduation from high school Donna left for college in Los Angeles, in the hopes of eventually entering movies. While at Los Angeles City College, she pursued her dream by participating in several college stage productions. In addition to the plays, she also won the title of Campus Queen. At one of those stage plays Donna was spotted by an MGM talent scout and was signed to a contract. Her first film was a minor role in MGM's The Getaway (1941). That was followed by a small part in Babes on Broadway (1941), with Mickey Rooney and Judy Garland as a secretary. She then won her breakthrough role in Shadow of the Thin Man (1941). Afterwards, MGM began giving her better parts, in films such as The Bugle Sounds (1942), The Courtship of Andy Hardy (1942) and The Man from Down Under (1943). In 1944 she received second billing playing Carol Halliday in See Here, Private Hargrove (1944), a comedy about a reporter drafted into the army who eventually meets up with Donna's character as a worker in the canteen. The following year Donna starred in The Picture of Dorian Gray (1945), her best role to date. It was a love story set in London in 1890. It got mixed critical reviews but did well at the box-office. Donna was now one of the leading ladies of Hollywood. In 1946 she starred in what is probably her best-known role, as the wife of James Stewart in the classic It's a Wonderful Life (1946). This timeless story is a holiday staple to this day. The film also starred Lionel Barrymore and Thomas Mitchell. The next year Donna starred as Ann Daniels in Paramount's Beyond Glory (1948) with Alan Ladd, which did well at the box-office. Her next role was the strongest she had had yet--Chicago Deadline (1949), again with Ladd. It was one of the best mystery dramas to come out of Hollywood in a long time, and did very well at the box office. As the 1940s faded out and the 1950s stormed in, Donna's roles got bigger but were mainly of the wholesome, girl-next-door type. In 1953, however, she starred as the hostess Alma in the widely acclaimed From Here to Eternity (1953). She was so good in that film she was nominated for and won the Academy Award for Best Supporting Actress, beating out such veterans as Thelma Ritter and Marjorie Rambeau. The film itself won for Best Picture and remains a classic to this day. Later that year Donna starred in The Caddy (1953), a comedy with Jerry Lewis and Dean Martin. Three years later she landed the role of Sacajawea in The Far Horizons (1955), the story of the Lewis and Clark Expedition, starring Charlton Heston and Fred MacMurray. After finishing The Whole Truth (1958), Donna began her own TV series (produced by her husband), The Donna Reed Show (1958), a hit that ran for eight years. She was so effective in the show that she was nominated for TV's prestigious Emmy Award as Best Actress every year from 1959-1962. She was far more popular in TV than on the screen. After the run of the program, Donna took some time away from show business before coming back in a couple of made-for-TV movies (in 1974, she had made a feature called Welcome to Arrow Beach (1973), but it was never released). She did get the role of Ellie Ewing Farlow in the hit TV series Dallas (1978) during the 1984-85 season. It was to be her final public performance. On January 14, 1986, less than two weeks before her 65th birthday, she died of pancreatic cancer in Beverly Hills, California. Grover Asmus, her husband, created the Donna Reed Foundation for the Performing Arts in her hometown of Denison. The foundation helps others who desire a career in the arts. Donna never forgot her roots. She was still a farm girl at heart.- Actress
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Eve Arden was born Eunice Mary Quedens in Mill Valley, California (near San Francisco), and was interested in show business from an early age. At 16, she made her stage debut after quitting school to join a stock company. After appearing in minor roles in two films under her real name, Eunice Quedens, she found that the stage offered her the same minor roles. By the mid 30s, one of these minor roles would attract notice as a comedy sketch in the stage play "Ziegfeld Follies".
By that time, she had changed her name to Eve Arden, which she adopted while looking over some cosmetics and spotting the names "Evening in Paris" and "Elizabeth Arden". In 1937, she garnered some attention with a small role in Oh, Doctor (1937), which led to her being cast in a minor role in the film Stage Door (1937). By the time the film was finished, her part had expanded into the wise-cracking, fast-talking friend to the lead. She would play virtually the character for most of her career.
While her sophisticated wise-cracking would never make her the lead, she would be a busy actress in dozens of movies over the next dozen years. In At the Circus (1939), she was the acrobatic Peerless Pauline opposite Groucho Marx and the Russian sharp shooter in the comedy The Doughgirls (1944). For her role as Ida in Mildred Pierce (1945), she received an Academy Award nomination. Famous for her quick ripostes, this led to work in Radio during the 1940s. In 1948, CBS Radio premiered "Our Miss Brooks", which would be the perfect show for her character. As her film career began to slow, CBS would take the popular radio show to television in 1952. The television series Our Miss Brooks (1952) would run through 1956 and led to the movie Our Miss Brooks (1956).
When the show ended, Arden tried another television series, The Eve Arden Show (1957), but it was soon canceled. In the 1960s, Arden raised a family and did a few guest roles, until her come-back television series The Mothers-In-Law (1967). This show, co-starring Kaye Ballard ran for two seasons. After that, she would make more unsold pilots, a couple of television movies and a few guest shots. She returned in occasional cameo appearances including as Principal McGee in Grease (1978), and Warden June in Pandemonium (1982).- Actress
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Movie and television actress Nancy Guild was a contract player at 20th Century-Fox, which reminded the public that her surname "rhymes with wild" after she was signed to a seven-year contract in 1946. The studio bosses must have changed their mind how they would position her as she typically played demure, ladylike roles.
She made her debut as a night club chanteuse in Joseph L. Mankiewicz's Somewhere in the Night (1946), which was marketed with newspaper ads bearing the "Nancy Guild Rhymes with Wild" catch line. She followed that up with the Philip Marlowe picture The Brasher Doubloon (1947), based on Raymond Chandler's novel "The High Window."
On the rebound from an engagement with producer Edward Lasker, Guild married fellow 20th Century-Fox contract player Chuck Russell in early 1947. The following year, they appeared together in the Dan Dailey musical Give My Regards to Broadway (1948).
Leaving Fox, she co-starred with Orson Welles in Gregory Ratoff's Black Magic (1949) before moving on to Universal Studios, where she appeared in Bud Abbott and Lou Costello Meet the Invisible Man (1951). In 1953, she appeared opposite a talking mule in Francis Covers the Big Town (1953), her last picture until Such Good Friends (1971).
Having divorced Russell in 1950, Guild married the successful Broadway impresario Ernest H. Martin, the three-time Tony Award-winning producer of Guys and Dolls (1955), The Sound of Music (1965), and A Funny Thing Happened on the Way to the Forum (1966) among others, in 1951. She appeared occasionally on television, retiring after an appearance on Robert Montgomery Presents (1950) in 1955. She did return to the silver screen in 1971, in Otto Preminger's Such Good Friends (1971)
She divorced Martin in 1975, marrying photojournalist John Bryson in 1978. Her final marriage lasted 17 years. She divorced Bryson in 1995. In all, she was both married and divorced three times.
Nancy Guild died in East Hampton, New York on August 16, 1999, at the age of 73. She was survived by her three daughters and three granddaughters.- Claire Gordon died peacefully on 13th April 2015 in a nursing home in Acton, aged 74 years; she was diagnosed with an aggressive brain tumour in December 2014. At the time she was living in El-gouna, Egypt, but returned to London and underwent an operation at the Charing Cross hospital in January 2015.
- Maruchi Fresno was born on 14 February 1916 in Madrid, Madrid, Spain. She was an actress, known for Catalina de Inglaterra (1951), The Holy Queen (1947) and Solomon and Sheba (1959). She was married to Juan Guerrero Zamora. She died on 19 July 2003 in San Lorenzo del Escorial, Madrid, Spain.
- Gianna Maria Canale was born on 12 September 1927 in Reggio di Calabria, Calabria, Italy. She was an actress, known for Clash of Steel (1962), Theodora, Slave Empress (1954) and Dead Woman's Kiss (1949). She was married to Riccardo Freda. She died on 13 February 2009 in Florence, Tuscany, Italy.