TCM Remembers 2010
Those performers and filmmakers who were included in TCM Remembers 2010.
The song used in this year's tribute is "Headlights" by Sofie Hunger.
This tribute was revised twice after its initial viewing, first to add editor Sally Menke, whom TCM had previously overlooked, and then to add director Blake Edwards, who died soon after the first revision began airing.
Notable omissions:
Maury Chaykin | Actor
Joe Mantell | Actor
Mario Monicelli | Writer / Director
Brittany Murphy | Actress (died too late for TCM Remembers 2009, so should have been added here)
Dan O'Bannon | Screenwriter (died too late for TCM Remembers 2009, so should have been added here)
Corin Redgrave | Actor
Actresses Neva Patterson and Hideko Takamine died too late in December 2010 to be included this year and are instead featured in TCM Remembers 2011.
The song used in this year's tribute is "Headlights" by Sofie Hunger.
This tribute was revised twice after its initial viewing, first to add editor Sally Menke, whom TCM had previously overlooked, and then to add director Blake Edwards, who died soon after the first revision began airing.
Notable omissions:
Maury Chaykin | Actor
Joe Mantell | Actor
Mario Monicelli | Writer / Director
Brittany Murphy | Actress (died too late for TCM Remembers 2009, so should have been added here)
Dan O'Bannon | Screenwriter (died too late for TCM Remembers 2009, so should have been added here)
Corin Redgrave | Actor
Actresses Neva Patterson and Hideko Takamine died too late in December 2010 to be included this year and are instead featured in TCM Remembers 2011.
List activity
166 views
• 1 this weekCreate a new list
List your movie, TV & celebrity picks.
50 people
- Director
- Producer
- Writer
Arthur Penn was born on 27 September 1922 in Philadelphia, Pennsylvania, USA. He was a director and producer, known for Bonnie and Clyde (1967), Little Big Man (1970) and The Miracle Worker (1962). He was married to Peggy Maurer. He died on 28 September 2010 in Manhattan, New York City, New York, USA.Director- Editor
- Producer
- Additional Crew
Dede Allen started her career as a messenger at Columbia Pictures. She graduated to being a sound cutter and assistant editor. Her first job as a film editor was for director Robert Wise, and since then, she has achieved a reputation as one of the most stylish and creative editors in the American film industry.Editor- Actress
- Soundtrack
Demure British beauty Jean Simmons was born January 31, 1929, in Crouch End, London. As a 14-year-old dance student, she was plucked from her school to play Margaret Lockwood's precocious sister in Give Us the Moon (1944). She had a small part as a harpist in the high-profile Caesar and Cleopatra (1945), produced by Gabriel Pascal, starring Vivien Leigh, and co-starring her future husband Stewart Granger. Pascal saw potential in Simmons, and in 1945 he signed her to a seven-year contract to the J. Arthur Rank Organization, and she went on to make a name for herself in such major British productions as Great Expectations (1946) (as the spoiled, selfish Estella), Black Narcissus (1947) (as a sultry native beauty), Hamlet (1948) (playing Ophelia to Laurence Olivier's great Dane and earning a Best Supporting Actress Oscar nomination), The Blue Lagoon (1949) and So Long at the Fair (1950), among others.
In 1950, she married Stewart Granger, and that same year, she moved to Hollywood. While Granger was signed to Metro-Goldwyn-Mayer, Rank sold her contract to Howard Hughes, who then owned RKO Pictures. Hughes was eager to start a sexual relationship with Simmons, but Granger put a stop to his advances. Her first Hollywood film was Androcles and the Lion (1952), produced by Pascal and co-starring Victor Mature. It was followed by Angel Face (1952), directed by Otto Preminger with Robert Mitchum. To further punish Simmons and Granger, Hughes refused to lend her to Paramount, where William Wyler wanted to cast her in the female lead for his film Roman Holiday (1953); the role made a star of Audrey Hepburn. A court case freed Simmons from the contract with Hughes in 1952. They settled out of court; part of the arrangement was that Simmons would do one more film for no additional money. Simmons also agreed to make three more movies under the auspices of RKO, but not actually at that studio - she would be lent out. MGM cast her in the lead of Young Bess (1953) playing a young Queen Elizabeth I with Granger. She went back to RKO to do the extra film under the settlement with Hughes, titled Affair with a Stranger (1953) with Mature; it flopped.
Simmons went over to 20th Century Fox to play the female lead in The Robe (1953), the first CinemaScope movie and an enormous financial success. Less popular was The Actress (1953) at MGM alongside Spencer Tracy, despite superb reviews; it was one of her personal favorites. Fox asked Simmons back for The Egyptian (1954), another epic, but it was not especially popular. She had the lead in Columbia's A Bullet Is Waiting (1954). More popular with moviegoers was Désirée (1954), where Simmons played Désirée Clary to Marlon Brando's Napoleon Bonaparte. Simmons and Granger returned to England to make the thriller Footsteps in the Fog (1955). She then starred in the musical Guys and Dolls (1955) with Brando and Frank Sinatra; she used her own singing voice and earned her first Golden Globe Award. Simmons played the title role in Hilda Crane (1956) at Fox, a commercial failure. So, too, were This Could Be the Night (1957) and Until They Sail (1957), both at MGM. Simmons had a big success, though, in The Big Country (1958), directed by Wyler. She starred in Home Before Dark (1958) at Warner Bros. and This Earth Is Mine (1959) with Rock Hudson at Universal.
Simmons divorced Granger in 1960 and almost immediately married writer-director Richard Brooks, who cast her as Sister Sharon opposite Burt Lancaster in Elmer Gantry (1960), a memorable adaptation of the Sinclair Lewis novel. That same year, she co-starred with Kirk Douglas in Stanley Kubrick's Spartacus (1960) and played a would-be homewrecker opposite Cary Grant in The Grass Is Greener (1960).
Off the screen for a few years, Jean captivated moviegoers with a brilliant performance as the mother in All the Way Home (1963), a literate, tasteful adaptation of James Agee's "A Death in the Family". However, after that, she found quality projects somewhat harder to come by, and took work in Life at the Top (1965), Mister Buddwing (1966), Divorce American Style (1967), Rough Night in Jericho (1967), The Happy Ending (1969) (a Richard Brooks film for which she was again Oscar-nominated, this time as Best Actress).
Jean continued making films well into the 1970s. In the 1980s, she appeared mainly in television miniseries, such as North & South: Book 1, North & South (1985) and The Thorn Birds (1983). She made a comeback to films in 1995 in How to Make an American Quilt (1995) co-starring Winona Ryder and Anne Bancroft, and most recently voiced the elderly Sophie in the English version of Hayao Miyazaki's Howl's Moving Castle (2004). She now resided in Santa Monica, California, with her dog, Mr. Gates, and her two cats, Adisson and Megan. Jean Simmons died of lung cancer on January 22, 2010, nine days before her 81st birthday.Actress- Director
- Second Unit Director or Assistant Director
- Additional Crew
Roy Ward Baker's first job in films was as a teaboy at the Gainsborough Studios in London, England, but within three years he was working as an assistant director. During World War II, he worked in the Army Kinematograph Unit under Eric Ambler, a writer and film producer, who, after the war, gave Baker his first opportunity to direct a film, The October Man (1947). He then went to Hollywood in 1952 and stayed for seven years, returning to Britain in 1958, when he directed one of his best films, A Night to Remember (1958). During the 1960s and 1970s, Baker directed a number of horror films for Hammer and Amicus. He also directed in British television, especially during the latter part of his career.Director- Actress
- Soundtrack
Actress of both the English and American stage and screen, Lynn Redgrave was born in Marylebone, London, England, into one of the world's most famous acting dynasties. As the daughter of Rachel Kempson and Sir Michael Redgrave, sister of Vanessa Redgrave and Corin Redgrave, and granddaughter of Roy Redgrave and Margaret Scudamore, all of whom were actors, her early aspirations were surprisingly to become an equestrienne or a chef. It was not until the age of 15 that she became more and more involved in acting and her father's stage performances.
Attending London's Central School of Music and Drama, she made her stage debut in 1962 and began film work a year later. It wasn't until her lovable role as the ugly-duckling in Georgy Girl (1966), that she was taken notice and, as a result, won both the Golden Globe, New York Film Critics Circle Award and a nomination for the coveted Best Actress at the 1967 Academy Awards. Despite this promising performance, Lynn struggled to find promising follow-up work, she played the lead in the fluffy Smashing Time (1967) and The Virgin Soldiers (1969), low-key films that were relevant at the time of London's swinging 60s, but very quickly became largely forgotten. She married stage actor/director John Clark and her sister, Vanessa Redgrave, who was also Oscar-nominated the same year for Morgan! (1966), was also gaining exposure and critical success if not surpassing Lynn, on both the British stage and films and was largely considered the leading face of England's breakout actresses of the '60s, alongside Julie Christie and other high-profile actresses.
Becoming the label of Vanessa Redgrave's younger and chubbier sister "that did that film a few years ago" didn't sit well with Lynn and, as a result, she lost considerable weight and permanently settled in the U.S. in 1974 to distance herself from this. Primarily based in southern California, she regularly commuted to New York and became notable particularly on the Broadway stage, and had successful runs in "Black Comedy/White Lies" (1967), "My Fat Friend" (1974), "Mrs. Warren's Profession" (1976), "Knock Knock" (1976), "Saint Joan" (1977-1978), "Aren't We All" (1985) and "Sweet Sue" (1987). She was prolifically hired by major networks to appear on a variety of TV talk and game shows and held the position of co-host for a few seasons of Not for Women Only (1968), while acting on prime-time TV, whether it was guest spots, mini-series or short-lived TV series. For over 20 years, Redgrave's film career was infrequent and admittedly "terrible" by the actress herself, she notoriously played the title character in the critically-bashed, The Happy Hooker (1975), and the all-star cast misfire, The Big Bus (1976), and, in the 1980s, she focused in a different direction, becoming a spokesperson and commercial actress for "Weight Watchers". This coincided with the release of her well- received book: "This Is Living: How I Found Health and Happiness", that detailed her weight issues and eating binges, it was also revealed that for years she suffered bulimia. In the mid-to-late '90s, Redgrave had somewhat of a resurgence in her career, from 1993-1994, she spent over 8 months on Broadway, as well as touring across the world, performing her own personally written show of "Shakespeare for My Father", that explored the bisexuality, aloof persona and intimidating resume of her father. In 1996, Scott Hicks reignited her film career after many years of inactivity by casting her in the Australian Oscar-winning hit, Shine (1996), in which she gave a short yet tender performance as "Gillian", the woman Geoffrey Rush's character falls in love with. Another Golden Globe win/Oscar nomination followed (this time in the supporting category) for her role as the Hungarian housekeeper in Gods and Monsters (1998). Her marriage abruptly ended in 1999, when infidelity was discovered on her husband's behalf and a nasty divorced followed, they produced three children Benjamin, Kelly Clark and Annabel Clark.
Continually working her way through film, television and stage performances in the '00s, recently awarded the OBE, Lynn Redgrave was shocked to discover lumps on her body and was diagnosed with breast cancer. As a result, she took time to write "Journal: A Mother and Daughter's Recovery from Breast Cancer" with her youngest daughter, Annabel Clark, in 2003 and tragically lost her 7-year battle on 2 May 2010 (aged 67) in her family home, surrounded by her loved ones. Her diagnosis led her to realize the beauty and simplicities of life, and she was quoted as saying: "there isn't any such thing as a bad day. Yes, bad things happen. But any day that I'm still here, able to feel and think and share things with people, then how could that possibly be a bad day?".Actress- Producer
David Brown was born on 28 July 1916 in New York City, New York, USA. He was a producer, known for The Player (1992), Cocoon (1985) and Jaws (1975). He was married to Helen Gurley Brown. He died on 1 February 2010 in Manhattan, New York City, New York, USA.Producer- Editor
- Producer
- Sound Department
Sally Menke was born on 17 December 1953 in Mineola, New York, USA. She was an editor and producer, known for Kill Bill: Vol. 1 (2003), Kill Bill: Vol. 2 (2004) and Inglourious Basterds (2009). She was married to Dean Parisot. She died on 27 September 2010 in Los Angeles, California, USA.Editor (added in first revision)- Actor
- Soundtrack
Harold Gould earned a Ph.D. in theater and taught speech and drama at Cornell University.
Pursuing off-Broadway work in the 1950s, he decided to practice what he preached and became a full-time professional actor in the 1960s.
He appeared in hundreds of TV programs during his distinguished performing career, usually playing a father, grandfather, or other varieties of authority figures.Actor- Producer
- Additional Crew
- Production Manager
Dino De Laurentiis left home at age 17 to enrol in film school, supporting himself as an actor, extra, propman, or any other job he could get in the film industry. His persistence paid off, and by the time he reached his 20th birthday he already had one produced film under his belt. After serving in the Italian army during World War II, De Laurentiis went back into film production, and in 1946 scored a critical and commercial international hit with Bitter Rice (1949) ("Bitter Rice"). He later married its star, Silvana Mangano. De Laurentiis eventually formed a partnership with producer Carlo Ponti, and the team had a string of hits, including several by director Federico Fellini. After the partnership dissolved, De Laurentiis embarked on a plan to build his own studio facilities, which would enable him to make the kind of massive spectacles he wanted to make. The studio complex, called Dinocitta', eventually was forced to close down due to a combination of hard times in the Italian film industry and a string of flops by De Laurentiis himself. De Laurentiis eventually sold the property to the Italian government and moved his base of production to the United States. He again opened up a film production complex in Wilmington, North Carolina, called DEG Studios, but was eventually forced by economic conditions to sell that, too. De Laurentiis has had some critical successes since his move to the U.S. (Ragtime (1981)), but most of his U.S. productions have been critically lambasted, although several have been commercial successes.Producer- Actor
- Director
- Writer
Multi-talented and unconventional actor/director regarded by many as one of the true "enfant terribles" of Hollywood who led an amazing cinematic career for more than five decades, Dennis Hopper was born on May 17, 1936, in Dodge City, Kansas. The young Hopper expressed interest in acting from a young age and first appeared in a slew of 1950s television shows, including Medic (1954), Cheyenne (1955) and Sugarfoot (1957). His first film role was in Rebel Without a Cause (1955), quickly followed by Giant (1956) and Gunfight at the O.K. Corral (1957). Hopper actually became good friends with James Dean and was shattered when Dean was killed in a car crash in September 1955.
Hopper portrayed a young Napoléon Bonaparte (!) in the star-spangled The Story of Mankind (1957) and regularly appeared on screen throughout the 1960s, often in rather undemanding parts, usually as a villain in westerns such as True Grit (1969) and Hang 'Em High (1968). However, in early 1969, Hopper, fellow actor Peter Fonda and writer Terry Southern, wrote a counterculture road movie script and managed to scrape together $400,000 in financial backing. Hopper directed the low-budget film, titled Easy Rider (1969), starring Fonda, Hopper and a young Jack Nicholson. The film was a phenomenal box-office success, appealing to the anti-establishment youth culture of the times. It changed the Hollywood landscape almost overnight and major studios all jumped onto the anti-establishment bandwagon, pumping out low-budget films about rebellious hippies, bikers, draft dodgers and pot smokers. However, Hopper's next directorial effort, The Last Movie (1971), was a critical and financial failure, and he has admitted that during the 1970s he was seriously abusing various substances, both legal and illegal, which led to a downturn in the quality of his work. He appeared in a sparse collection of European-produced films over the next eight years, before cropping up in a memorable performance as a pot-smoking photographer alongside Marlon Brando and Martin Sheen in Francis Ford Coppola's Vietnam War epic Apocalypse Now (1979). He also received acclaim for his work in both acting and direction for Out of the Blue (1980).
With these two notable efforts, the beginning of the 1980s saw a renaissance of interest by Hollywood in the talents of Dennis Hopper and exorcising the demons of drugs and alcohol via a rehabilitation program meant a return to invigorating and provoking performances. He was superb in Rumble Fish (1983), co-starred in the tepid spy thriller The Osterman Weekend (1983), played a groovy school teacher in My Science Project (1985), was a despicable and deranged drug dealer in River's Edge (1986) and, most memorably, electrified audiences as foul-mouthed Frank Booth in the eerie and erotic David Lynch film Blue Velvet (1986). Interestingly, the offbeat Hopper was selected in the early 1980s to provide the voice of "The StoryTeller" in the animated series of "Rabbit Ears" children's films based upon the works of Hans Christian Andersen!
Hopper returned to film direction in the late 1980s and was at the helm of the controversial gang film Colors (1988), which was well received by both critics and audiences. He was back in front of the cameras for roles in Super Mario Bros. (1993), got on the wrong side of gangster Christopher Walken in True Romance (1993), led police officer Keanu Reeves and bus passenger Sandra Bullock on a deadly ride in Speed (1994) and challenged gill-man Kevin Costner for world supremacy in Waterworld (1995). The enigmatic Hopper continued to remain busy through the 1990s and into the new century with performances in All the Way (2003), The Keeper (2004) and Land of the Dead (2005).
As well as his acting/directing talents, Hopper was a skilled photographer and painter, having had his works displayed in galleries in both the United States and overseas. He was additionally a dedicated and knowledgeable collector of modern art and had one of the most extensive collections in the United States. Dennis died of prostate cancer on May 29, 2010, less than two weeks after his 74th birthday.Actor / Writer / Director- Actress
- Soundtrack
It came as no surprise to film aficionados when, in 1999, Entertainment Weekly named Jill Clayburgh on its list of Hollywood's 25 Greatest Actresses. For decades, she delivered stellar performances in a wide variety of roles.
Jill Clayburgh was born in 1944 in New York City, into a wealthy family, the daughter of Julia Louise (Dorr), an actress and secretary, and Albert Henry Clayburgh, a manufacturing executive. Her father was from a Jewish family that has lived in the United States since the 1700s, and her mother had English ancestry, also with deep American roots. Jill was educated at the finest schools, including the Brearley School and Sarah Lawrence College. It was while at Sarah Lawrence that she decided on a career in acting, and joined the famous Charles Street Repetory Theater in Boston. She moved to New York in the late 1960s and had featured roles in a number of Broadway productions, including "The Rothschilds" and "Pippin". She began her career in films in 1970 and got her first major role in Portnoy's Complaint (1972) in 1972. In 1978, she rose to screen prominence with her performance in An Unmarried Woman (1978), for which she received an Oscar nomination. She was again nominated for the Academy Award in 1979 for her role in Starting Over (1979). But after giving a riveting portrayal as a Valium addict in I'm Dancing as Fast as I Can (1982), her career went into a rapid decline, mainly because of her poor choices of scripts. She seemed destined for a comeback after appearing in Where Are the Children? (1985), with multi-talented child actress Elisabeth Harnois, but her excellent performance was largely ignored by critics, who opted to give the credit for the thriller's success to the performance of the precocious, six year old Harnois.
After the late 1980s, Jill worked mainly in television and low-budget films, and also had a leading role in the drama Never Again (2001), with Jeffrey Tambor.
Jill was married to playwright David Rabe, with whom she had two children, including actress Lily Rabe.
Jill Clayburgh died of chronic lymphocytic leukemia on November 5, 2010, in Salisbury, Connecticut.Actress- Actor
- Writer
- Director
Tall, slim and exceedingly good-looking American leading man Robert Culp, a former cartoonist in his teen years, appeared off-Broadway in the 1950s before settling into polished, clean-cut film leads and "other man" supports a decade later. Hitting the popular TV boards in the hip, racially ground-breaking espionage program I Spy (1965), he made a slick (but never smarmy), sardonic name for himself during his over five-decade career with his sly humor, casual banter and tongue-in-cheek sexiness. Though he had the requisite looks and smooth, manly appeal (not to mention acting talent) for superstardom, a cool but cynical and somewhat detached persona may have prevented him from attaining it full-out.
He was born Robert Martin Culp on August 16, 1930, in Oakland California. The son of attorney Crozie Culp and his wife, Bethel Collins, who was employed at a Berkeley chemical company, he offset his only-child loneliness by playacting in local theater productions. Culp also showed a talent for art while young and earned money as a cartoonist for Bay Area magazines and newspapers in high school, but the fascination with becoming an actor proved much stronger. He attended Berkeley High School and graduated in 1947. The athletically-inclined Culp dominated at track and field events and, as a result, earned athletic scholarships to six different universities. He selected the relatively minor College of the Pacific in Stockton, California primarily because of its active theater department. Transferring to various other colleges of higher learning (including San Francisco State in 1949), he never earned a degree. After performing in some theatre in the San Francisco area, he moved to Seattle and then New York in 1951.
Studying under famed teacher Herbert Berghof and supporting himself during this time teaching speech and phonetics, Bob eventually found work on the theatre scene, making his 1953 Broadway debut (as Robert M. Culp) in "The Prescott Proposals" with Katharine Cornell. He eventually returned to Broadway with "Diary of a Scoundrel" starring Blanche Yurka and Roddy McDowall in 1956 and with a strong role in "A Clearing in the Woods" (alongside Kim Stanley) a year later. He earned an off-Broadway Obie Award for his very fine work in "He Who Gets Slapped" in 1956, and also appeared in the plays "Daily Life" and "Easter".
Gracing a few live-TV dramas during his New York days, he returned to his native California for his first major TV role. It was an auspicious one as post-Civil War Texas Ranger "Hoby Gilman" in the western series Trackdown (1957). He earned widespread attention in the series that based many of its stories from actual Texas Ranger files, and the show itself received the official approval not only of the Rangers themselves but by the State of Texas. The series led to a CBS spin-off of its own: Wanted: Dead or Alive (1958), which made a TV star out of Steve McQueen.
From there, Culp guested on a number of series dramas: Bonanza (1959), The Rifleman (1958), Rawhide (1959), The Detectives (1959), Ben Casey (1961), The Outer Limits (1963), Naked City (1958) and Combat! (1962). He also starred in the two-part Disney family-styled program "Sammy the Way Out Seal" (1962), which was subsequently released as a feature in Europe. He and Patricia Barry played the hapless parents of precocious Bill Mumy and Michael McGreevey whose "adopted" pet animal unleashes major chaos in their suburban neighborhood.
During this time, Bob began to seek lead and supporting work in films. Despite his co-starring with Cliff Robertson, Rod Taylor and the very perky Jane Fonda (as her straight-laced boyfriend) in the sparkling Broadway-based sexcapade Sunday in New York (1963); playing Robertson's naval mate in the popular John F. Kennedy biopic PT 109 (1963); recreating the legendary "Wild Bill" Hickok in the western tale The Raiders (1963); and heading up the adventurous cast of the Ivan Tors' African yarn Rhino! (1964) (which included Harry Guardino and the very fetching British import Shirley Eaton), Culp wasn't able to make a serious dent in the medium.
TV remained his best arena and gave him more lucrative offers, professionally. It rewarded him quite richly in 1965 with the debonair series lead "Kelly Robinson", a jet-setting, pro-circuit tennis player who leads a double life as an international secret agent in I Spy (1965). Running three seasons, Culp co-starred with fellow secret agent Bill Cosby, who, as "Alexander Scott", posed as Culp's tennis trainer. The role was tailor-made for the suave, Ivy-League-looking actor. He looked effortlessly cool posing in sunglasses amid the posh continental settings and remained handsomely unflinching in the face of danger. It was the first U.S. prime-time network drama to feature an African-American actor in a full-out starring role and the relationship between the two meshed perfectly and charismatically on screen. Both were nominated for acting Emmys in all three of its seasons, with Cosby coming out the victor each time. Filmed on location in such cities as Hong Kong, Acapulco and Tokyo, Culp also wrote and directed certain episodes of the show He also met his third wife, the gorgeous Eurasian actress France Nuyen, while on the set. They married in 1967 but divorced three years later. At this stage, the actor already had four children (by second wife, sometime actress Nancy Ashe).
Following the series' demise, Culp took on perhaps his most-famous and controversial film role as Natalie Wood's husband "Bob" in the titillating but ultimately teasing "flower power" era film Bob & Carol & Ted & Alice (1969), with Elliott Gould and Dyan Cannon as the other-half couple who examine the late 60s "free love" idea of wife-swapping. The film was nominated for four Academy Awards (two went to supporting actors Gould and Cannon). The movie did not reignite Culp's popularity on the large screen, but it did lead to his rather strange pairing with buxom Raquel Welch in the violent-edged western Hannie Caulder (1971) and a reunion with his I Spy (1965) pal Cosby in the far-more entertaining Hickey & Boggs (1972), which reestablished their great tongue-in-cheek rapport as two weary-eyed private eyes. Culp also directed the film while his real-life wife, actress Sheila Sullivan, played his screen wife as well.
The late 1970s produced a flood of routine mini-movies and B-pictures, the latter including Inside Out (1975), Sky Riders (1976), Breaking Point (1976), The Great Scout & Cathouse Thursday (1976), Flood (1976), Goldengirl (1979) and Hot Rod (1979). While he remained a sturdy and standard presence in such mini-movies as Houston, We've Got a Problem (1974), Spectre (1977) and Calendar Girl Murders (1984), his better TV-movie roles were in A Cold Night's Death (1973), Outrage (1973), A Cry for Help (1975) and as "Lyle Pettyjohn" in the acclaimed mini-series sequel Roots: The Next Generations (1979).
Bob returned to series TV as stern FBI Special Agent "Bill Maxwell", whose job was to work with handsome William Katt, who starred as an ersatz The Greatest American Hero (1981). The show lasted three seasons. Other series guest spots, both comedic and dramatic, included Hotel (1983), Highway to Heaven (1984), The Golden Girls (1985) and an episode of his old buddy's show The Cosby Show (1984). He was also a guest murderer in three of the "Columbo" episodes. Although he was relegated to appearing in such film fodder as Turk 182 (1985), Big Bad Mama II (1987) and Pucker Up and Bark Like a Dog (1989), the 1990s offered him one of his best film roles in years as the ill-fated President in the Denzel Washington/Julia Roberts political thriller The Pelican Brief (1993). A year later, he again reteamed with Cosby in the TV-movie I Spy Returns (1994).
Culp became very active in the 1960s Civil Rights movement and later became a prominent face in local civic causes, joining in a lawsuit to cease construction of an elephant exhibit at the Los Angeles Zoo and accusing officials there of mistreatment. In the long run, however, the construction was given the green light. Culp also married a fifth time to Candace Faulkner and, by her, had daughter Samantha Culp in 1982. Older sons Jason Culp (born 1961) and Joseph Culp (born 1963) became actors, while another son, Joshua Culp (born 1958), entered the visual effects field. Daughter Rachel, an outré clothing designer for rock stars, was born in 1964.
In later years, Culp could be seen occasionally as Ray Romano's father-in-law on the hugely popular Everybody Loves Raymond (1996). His last film, the family drama The Assignment (2010), was unreleased at the time of his death. On March 24, 2010, the 79-year-old Culp collapsed from an apparent heart attack while walking near the lower entrance to Runyon Canyon Park, a popular hiking area in the Hollywood Hills. Found by a hiker, Culp was transported to a nearby hospital where he died from the head injuries he sustained in the fall. Five grandchildren also survive.Actor / Writer / Director- Actor
- Soundtrack
James Mitchell was an American actor and dancer of English descent. He was one the leading dancers for choreographer Agnes de Mille (1905-1993). As an actor, Mitchell is primarily remembered for his role as diabolical businessman Palmer Cortlandt in the long-running soap opera "All My Children". Mitchell played this role from 1979 to 2010, and Cortlandt was one of the series' major characters until 2002.
In 1920, Mitchell was born in Sacramento, California. His parents were English immigrants who operated a fruit farm in Turlock, an agricultural settlement in Stanislaus County, California. In 1923, his parents separated. His mother returned to England, and took Mitchell's siblings with her. Unable to raise Mitchell on his own, his father entrusted him to the care of vaudevillians Gene and Katherine King. While the senior Mitchell eventually reclaimed custody over his son, Mitchell became interested in a show business career of his own.
Mitchell left Turlock in 1937, in order to seek education as an actor. He studied drama at Los Angeles City College, and was trained in modern dance by famed choreographer Lester Horton (1906-1953). Following his graduation, Mitchell formally joined the Lester Horton Dancers (1932-1944), Horton's own dance company.
In 1944, Horton dissolved his dance company and moved to New York City, taking Mitchell with him. Horton attempted to form a new dance company there for dancer Sonia Shaw, and his main investor was Shaw's husband. The investor reneged on the deal, and Horton's company went bankrupt before its debut performance. Mitchell was left unemployed for the first time in his career.
Mitchell had trouble finding acting or dancing jobs in New York City, where there were many available performers. Mitchell himself had no connections in the city. He eventually applied for a job as a dancer in the musical "Bloomer Girl" (1944), where Agnes de Mille was the choreographer. She asked him to perform ballet moves, unaware that Mitchell had little to no training in ballet. Instead Mitchell performed a dance improvisation. De Mille was sufficiently impressed by his style to offer him the dual position of principal dancer and assistant choreographer in the show. He took the offer.
Mitchell's professional relationship with de Mille lasted from 1944 to 1969. In her autobiography, she praised Mitchell, commenting that he gad "probably the strongest arms in the business, and the adagio style developed by him and his partners has become since a valued addition to ballet vocabulary."
Mitchell remained primarily a theatrical actor in the 1940s, though he appeared as a dancer and uncredited extra in film musicals and westerns. He was eventually offered a contract with Warner Brothers by producer Michael Curtiz (1886-1962). Mitchell only appeared in two Warner Brothers-produced film. His most notable there was playing gangster Duke Harris in the Western "Colorado Territory" (1949).
Mitcell was next signed to a contract with Metro-Goldwyn-Mayer (MGM), where he played supporting roles in films from 1949 to 1955. His film appearances included the film noir "Border Incident" (1949), the Western "Stars in My Crown" (1950), and the musical comedy "The Band Wagon" (1953). His last MGM-produced film was the Biblical epic "The Prodigal" (1955), a notorious box office flop that resulted in losses of 771,000 dollars by the company. Mitchell's contract was terminated shortly afterward.
In 1956, Mitchell gained his first lead role in a film, playing gunfighter Terrall Butler in the Western "The Peacemaker" (1956). It was a low-budget production by independent producer Hal R. Makelim, and the film eventually only had a limited release. It was Mitchell's last film role for decades.
Mitchell was able to find steady work as an actor in television productions. In 1964, he gained the recurring role of corrupt Captain Lloyd Griffin in the soap opera "The Edge of Night" (1956-1975). He eventually gained the lead role of professor of literature Julian Hathaway in another soap opera, "Where the Heart Is" (1969-1973). The series had "fairly healthy ratings" for its entire run, but it was typically the lowest-rated soap on CBS' daytime schedule. It was eventually canceled and replaced by a more successful soap opera, called "The Young and the Restless" (1973-).
For much to the 1970s, Mitchell was reduced to sporadic guest star appearances in television. He financially supported himself as an acting teacher at Juilliard, Yale University, and Drake University. He was eventually offered the new role of businessman Palmer Cortlandt in the soap opera "All My Children", a role he played for 31 years.
By 2008, Mitchell was forced to reduce his television appearances due to health problems. He was suffering from chronic obstructive pulmonary disease, an obstructive lung disease characterized by long-term breathing problems and poor airflow. He formally retired from acting in 2009, but made return appearances in 2010. He died in January 2010, his death caused by his chronic disease and complications by pneumonia. He was 89-years-old.Actor- Actor
- Producer
- Soundtrack
In a career spanning more than four decades, James MacArthur developed a body of work which is wonderfully dynamic in both scope and range. Portraying everything from crazed killer to stalwart defender of law and order, frustrated teenager to cynical senior supervisor, he has appeared in numerous films, television programs, and stage productions since his career officially began back in 1955. Although he had been performing in parts during summer stock productions since 1949, making his stage debut in "The Corn Is Green", his real acting career did not begin until he starred as the complex and misunderstood teenager in John Frankenheimer's "Deal a Blow". Broadcast live on the Climax! (1954) television anthology series, the program told the story of "Hal Ditmar", a relatively ordinary youngster on the verge of manhood who finds himself caught up in a snowballing world of trouble with his parents, the law, and virtually everyone in authority after a minor infraction of the rules at a movie theater. The story was so well-crafted and MacArthur's performance so compelling that a year later it was remade by Frankenheimer into his first theatrical release, The Young Stranger (1957). The movie received much critical acclaim and earned its star a BAFTA (British Academy of Film and Television Arts) Film Award nomination as Most Promising Newcomer (1958) and won a film festival in Switzerland. Next up was the Disney movie of Conrad Richter's novel, The Light in the Forest (1958). Set in the late 18th century in the burgeoning United States, it told the tale of a young man who had been kidnapped by Indians as a baby and raised as the son of a chief. A respected and accepted member of the tribe, the boy, known as "True Son", is ripped away from the only life he has ever known and forced to return to his biological parents due to a treaty signed by people of whom he has no knowledge and who cannot possibly have any interest in his individual welfare. His subsequent struggles to find out exactly where he fits in and to gain the trust and sanction of his new community are told in a way which is as wrenching and relevant to today's society as it was then. The corollaries between this story and the custody battles which seem to occur with alarming frequency in our own time are strong and thought provoking. It seems the question regarding when in a child's life his biological parentage begins to be outweighed by the environment in which he is being raised is one which has yet to be answered. The depth with which MacArthur imbued the role makes his performance both truthful and unforgettable. Before its release in theaters, The Light in the Forest (1958) was preceded by three more appearances in live teleplays, including another outstanding performance in the Studio One (1948) production of "Tongues of Angels" as "Ben Adams", a young man with a devastating stuttering problem who pretends to be a deaf/mute in order to hide his infirmity. A string of meaty roles quickly followed, including the Disney classic films Kidnapped (1960), Third Man on the Mountain (1959) and Swiss Family Robinson (1960); television programs such as The Untouchables (1959), Bus Stop (1961) and Wagon Train (1957); and two more live teleplays. As sociopathic killer and racketeer "Johnny Lubin" in The Untouchables (1959) episode "Death for Sale", MacArthur for the first time portrayed an unsympathetic character. The heart-stopping realism of his performance provided definitive proof of his abilities as a multifaceted and talented actor. In what he described in one interview as his first "mature" role, he then appeared as a doctor-in-the-making in The Interns (1962), turning in a fine performance as a somewhat naive young man who grows up rather quickly when presented with several tough choices and life-defining situations. After that came more television, the underrated yet stirring film, Cry of Battle (1963), and Spencer's Mountain (1963), the highly successful precursor to the popular television series The Waltons (1972). Once again, in both films, MacArthur played young men whose lives are changed by circumstances beyond their control and who must dig deep within themselves to find the inner strength and fortitude to deal with those events. Having by now amassed an impressive list of film and television credits in addition to stage performances on Broadway and other venues, MacArthur then turned to the pivotal role of "Ensign Ralston" in the tense and nerve-wracking Cold War yarn, The Bedford Incident (1965). His performance as the eager to-please and earnest young officer carried a subtlety and intensity hard to believe of someone not yet thirty years old. The role of "William Ashton" in the light-hearted romance, The Truth About Spring (1965) came next, almost immediately followed by yet another coming-of-age performance as "Lt. Weaver" in the blockbuster WWII saga, Battle of the Bulge (1965). Westerns and war dramas predominated the next phase of MacArthur's career with appearances in television programs such as Branded (1965), 12 O'Clock High (1964), Gunsmoke (1955), Combat! (1962), Hondo (1967), Bonanza (1959), and Death Valley Days (1952), in addition to the films Ride Beyond Vengeance (1966), "Mosby's Marauders" (1966) and Hang 'Em High (1968). It was his appearance in this last movie that would ultimately lead him into the role of "Dan Williams" on Hawaii Five-O (1968). When Leonard Freeman found himself looking for a replacement to play the complex sidekick to Jack Lord's powerful "Steve McGarrett", he went looking for the young actor he remembered from just two or three days' work on his low-budget spaghetti Western. The juxtaposition of MacArthur's still-boyish good looks with his ability to bring a convincing toughness and sincerity to the role made him one of the best-remembered and well-admired actors of 1960s and 1970s popular television. Even today, more than twenty years after the program stopped production, it is broadcast in syndication in markets all over the world. Its "Book 'im, Danno" catchphrase is still as much a part of our popular culture as that famed line from another show of the same era: "Beam me up, Scotty". Departing "Five-O" prior to its 12th and final season, MacArthur's appearances became less frequent, yet still memorable. He was featured in such popular television shows as The Love Boat (1977), Vega$ (1978), Fantasy Island (1977), and Murder, She Wrote (1984) and starred in two made-for-television movies: Irwin Allen's The Night the Bridge Fell Down (1980) and Alcatraz: The Whole Shocking Story (1980). His poignant portrayal of hapless "Walt Stomer" in the latter provided a fine example that his skills as an actor had not waned in the 25 years since that first television appearance. He concentrated on the stage for a while then, performing in productions such as "Arsenic and Old Lace", "A Bedfull of Foreigners" and "Love Letters", as well as the occasional live appearance at charity and celebrity sporting events. In 1998, after nearly a decade away from television screens, he took up the role of "Frank Del Rio" in the Family Channel movie Storm Chasers: Revenge of the Twister (1998). With the new century, MacArthur returned to a more active professional schedule, continuing to make a number of personal appearances to sign autographs and greet fans, as well as several speaking engagements such as northeast Ohio's "One Book, Two Counties: An Evening With James MacArthur", The Cinema Audio Society Annual Awards Banquet and AdventureCon in Knoxville, Tennessee. In addition, he has been featured in several television specials and interview programs, including Emme & Friends, Entertainment Tonight (1981), Inside TVLand, and Christopher Closeup. The increasing popularity of the DVD market has seen the re-release of Swiss Family Robinson (1960) with a new behind-the-scenes documentary narrated by MacArthur and a lengthy on-screen interview covering many aspects of his career. Planned for re-release in July 2003, the 1956 version of Anastasia (1956) is expected to include an on-screen interview with MacArthur discussing his mother, Helen Hayes, and her work in that movie. April 2003 marked his return to the stage as "Father Madison" in Joe Moore's original play Dirty Laundry. On 6 November 2003, the Hawaii International Film Festival chose James MacArthur and Hawaii Five-O (1968) as the recipient of their annual "Film in Hawaii" award, an honor both well-deserved and especially significant, coming as it did from the people and the State of Hawaii. Plans were being made to feature MacArthur in a new television series set in the Hawaiian Islands, though nothing more definitive had ever been arranged.Actor- His father was the actor Reginald Sheffield who began as a child star and later turned to character acting. Johnny appeared at age seven on Broadway in the original cast of "On Borrowed Time". When Maureen O'Sullivan wanted out of her Jane role in the Johnny Weissmuller Tarzan series, it was decided that she and Tarzan would adopt a son (they had to adopt, according to the Legion of Decency, because they weren't married) before she died. Weissmuller personally chose Sheffield for the part of Boy, a part inspired by Bobby Nelson's portrayal in Tarzan the Mighty (1928); athletic by nature, he was taught to swim by swimming Olympian Weissmuller. Tarzan Finds a Son! (1939) was such a success that MGM signed Sheffield to six more films as Tarzan's Boy. By the time of Tarzan and the Mermaids (1948), he was too big for the part; the film merely said he was away at school. When Monogram Studios learned he had been dropped, they picked him up for the series of movies based on the Roy Rockwood Bomba: The Jungle Boy (1949) movies. He made twelve of these between 1949 and 1955.Actor
- Actor
- Producer
- Soundtrack
Corey Haim was born in Toronto, Ontario, to Judy Haim, an Israeli-born data processor, and Bernie Haim, a clothing sales representative. He has a sister, Carol, and a half-brother, Daniel. His family is Jewish. He was raised mostly in Willowdale.
Corey appeared in 26 episodes of the early 1980s Canadian series The Edison Twins (1982). He broke into the film industry in 1984, playing a young child caught up in a family war in the movie Firstborn (1984). The following year, he starred in the TV movie A Time to Live (1985), for which he received a Young Artist Award, appeared in the comedies Secret Admirer (1985) and Murphy's Romance (1985), and had the leading role, Marty Coslaw , in the Stephen King werewolf film Silver Bullet (1985). Lucas (1986), in which he starred alongside Kerri Green and Winona Ryder, showed his acting abilities, with praise coming particularly from Roger Ebert.
In 1987, he had a breakthrough when he played one of the major roles, Sam Emerson, in Joel Schumacher's The Lost Boys (1987). He later starred in the comedy films License to Drive (1988) and Dream a Little Dream (1989), the horror movie Watchers (1988), and the science fiction action drama Prayer of the Rollerboys (1990). Many of his 1990s and 2000s roles were in direct-to-video releases, and he also had a cameo in the action film Crank: High Voltage (2009). His last two films were The Hostage Game (2010) and Decisions (2011).
He died suddenly on March 10, 2010 in Burbank, California, of pneumonia.Actor- Director
- Editor
- Editorial Department
British director Clive Donner was born in West Hampstead, London, England. By age 18 he was already working in the film business, as an office clerk at Denham Studios. He eventually became an editor and then graduated to the director's chair. After making a series of TV commercials, he made his theatrical directorial debut with The Secret Place (1957). In the 1960s he went from smaller, harder-edged black-and-white films to more commercial, "now" films, such as Here We Go Round the Mulberry Bush (1968), What's New Pussycat (1965) and the disastrous flop Alfred the Great (1969). He worked only sporadically in features after that--two more bombs, The Nude Bomb (1980) and Charlie Chan and the Curse of the Dragon Queen (1981) didn't help matters--and he returned, for the most part, to television. Among his best work there were a critically acclaimed filming of Frederic Raphael's thriller Rogue Male (1976) and a faithful and well-received adaptation of Charles Dickens' famous novel, A Christmas Carol (1984) with George C. Scott as Scrooge. Unfortunately, that was followed by the notorious Arthur the King (1983), a bizarre, convoluted and disjointed mess about which the less said, the better.Director- Actor
- Additional Crew
- Soundtrack
Handsome, chisel-jawed character actor Kevin McCarthy appeared in nearly 100 movies in a career that spanned seven decades. He also had some starring roles, most notably the horror cult classic Invasion of the Body Snatchers (1956). He played the disillusioned son Biff Loman in the 1951 screen adaptation of Arthur Miller's classic Death of a Salesman (1951), for which he was nominated for a Best Supporting Actor Oscar and won the Golden Globe Award for most promising newcomer (male).
He is the younger brother of the late author Mary McCarthy and distant cousin of former U.S. Senator and presidential candidate Eugene McCarthy.
McCarthy was orphaned at the age of four when both his parents died in the great flu epidemic of 1918. He was raised by his father's parents in Minneapolis, Minnesota, and later by an uncle and aunt. He graduated from Campion Jesuit High School in Prairie du Chien, Wisconsin, in 1932. He attended the School of Foreign Service at Georgetown University, Washington, DC, in 1933, intending to enter into the diplomatic field. He also attended the University of Minnesota, Minneapolis, in 1936 and the Actors Studio New York, New York. He had roles in two short-lived TV series: The Survivors (1969), with Lana Turner, and Flamingo Road (1980) as Claude Weldon, the father of the character played by Morgan Fairchild.
The stage-trained McCarthy frequently appeared on Broadway. He starred as Jerry in "Two for the Seesaw" (1959) and as Van Ackerman in "Advise and Consent" (1960). He also played President Harry S. Truman in the one-man show "Give 'Em Hell, Harry!"
McCarthy showed no signs of retiring as late as June 2007. McCarthy acted in the film The Ghastly Love of Johnny X (2012), playing the role of the Grand Inquisitor, at age 93, which was finally released in 2011. He died of pneumonia on September 11, 2010.Actor- Cammie King Conlon was born on 5 August 1934 in Los Angeles, California, USA. She was an actress, known for Gone with the Wind (1939), Change in the Wind (2010) and Living Famously (2002). She was married to Michael W. Conlon and Walter ''Ned'' Pollock. She died on 1 September 2010 in Fort Bragg, California, USA.Actress
- Actor
- Soundtrack
In 1953 Eddie Fisher was given his own fifteen-minute TV show called Coke Time (1953), sponsored by the Coca-Cola company. This show proved to be so popular that Coke then offered Eddie a $1 million contract to be their national spokesperson. A deal of that magnitude was almost unheard of at this time and helped push Fisher towards being one of the most popular singers by 1954. In 1955 Eddie married Debbie Reynolds and daughter Carrie Fisher was born a year later, followed by son Todd Fisher in l958. Later that year, the scandal of the decade broke when stories of Eddie's affair with Elizabeth Taylor were made public. She had been widowed earlier that year when her husband Mike Todd, Eddie's best friend, died in a plane crash. The bad publicity that followed did a great deal of damage to Eddie's career, while it actually increased the amount of money Elizabeth was offered for films. He and Liz did the movie BUtterfield 8 (1960), which actually earned Taylor an Academy Award, though it was received with mixed reviews. From there Liz went on to star in Cleopatra (1963), with Richard Burton, another scandal and divorce for Liz. With his TV show long gone and hit records a thing of the past, his career in the sixties consisted mainly of stage shows in Las Vegas, New York, and smaller venues as time went on. For a few years he was married to Connie Stevens and they had two daughters, Joely Fisher and Tricia Leigh Fisher before divorcing in 1968. Eddie Fisher has written two autobiographies, the latest "Been There, Done That" published with great controversy. It seems some of the women in his past, including Debbie Reynolds, did not care for his portrayal of them. He must be given credit, however, for owning up to his own actions, which led to the degradation of his career. His fifth wife, Betty Lin, passed away from lung cancer on April 15, 2001.Actor / Singer- Director
- Writer
- Actor
Admirers have always had difficulty explaining Éric Rohmer's "Je ne sais quoi." Part of the challenge stems from the fact that, despite his place in French Nouvelle Vague (i.e., New Wave), his work is unlike that of his colleagues. While this may be due to the auteur's unwillingness to conform, some have argued convincingly that, in truth, he has remained more faithful to the original ideals of the movement than have his peers. Additionally, plot is not his foremost concern. It is the thoughts and emotions of his characters that are essential to Rohmer, and, just as one's own states of being are hard to define, so is the internal life of his art. Thus, rather than speaking of it in specific terms, fans often use such modifiers as "subtle," "witty," "delicious" and "enigmatic." In an interview with Dennis Hopper, Quentin Tarantino echoed what nearly every aficionado has uttered: "You have to see one of [his movies], and if you kind of like that one, then you should see his other ones, but you need to see one to see if you like it."
Detractors have no problem in expressing their displeasure. They use such phrases as "tedious like a classroom play," "arty and tiresome" and "donnishly talky." Gene Hackman, as jaded detective Harry Moseby in Night Moves (1975), delivered a now famous line that sums up these feelings: "I saw a Rohmer film once. It was kind of like watching paint dry." Undeniably, his excruciatingly slow pace and apathetic, self-absorbed characters are hallmarks, and, at times, even his greatest supporters have made trenchant remarks in this regard. Said critic Pauline Kael, "Seriocomic triviality has become Rohmer's specialty. His sensibility would be easier to take if he'd stop directing to a metronome." In that his proponents will quote attacks on him, indeed Rohmer may be alone among directors. They revel in the fact that "nothing of consequence" happens in his pictures. They are mesmerized by the dense blocks of high-brow chatter. They delight in the predictability of his aesthetic. Above all, however, they are touched by the honesty of a man who, uncompromisingly, lays bear the human soul and "life as such."
Who is Eric Rohmer? Born Jean-Marie Maurice Scherer on December 1, 1920 in Nancy, a small city in Lorraine, he relocated to Paris and became a literature teacher and newspaper reporter. In 1946, under the pen name Gilbert Cordier, he published his only novel, "Elizabeth". Soon after, his interest began to shift toward criticism, and he began frequenting Cinémathèque Français (founded by archivist Henri Langlois) along with soon-to-be New Wavers Jean-Luc Godard, Jacques Rivette, Claude Chabrol and François Truffaut. It was at this time that he adopted his pseudonym, an amalgam of the names of actor/director Erich von Stroheim and novelist Sax Rohmer (author of the Fu Manchu series.) His first film, Journal d'un scélérat (1950), was shot the same year that he founded "Gazette du Cinema" along with Godard and Rivette. The next year, Rohmer joined seminal critic André Bazin at "Cahiers du Cinema", where he served as editor-in-chief from 1956 to 1963. As Cahiers was an influential publication, it not only gave him a platform from which to preach New Wave philosophy, but it enabled him to propose revisionist ideas on Hollywood. An example of the latter was "Hitchcock, The First Forty-Four Films", a book on which he collaborated with Chabrol that spoke of Alfred Hitchcock in highly favorable terms.
Rohmer's early forays into direction met with limited success. By 1958, he had completed five shorts, but his sole attempt at feature length, a version of La Comtesse de Ségur's "Les Petites filles modèles", was left unfinished. With Sign of the Lion (1962), he made his feature debut, although it was a decade before he achieved recognition. In the interim, he turned out eleven projects, including three of his "Six contes moraux" (i.e., moral tales), films devoted to examining the inner states of people in the throes of temptation. The Bakery Girl of Monceau (1963) and Suzanne's Career (1963) are unremarkable black-and-white pictures that best function as blueprints for his later output. They also mark the beginning of a business partnership with Barbet Schroeder, who starred in the former of the two. The Collector (1967), his first major effort in color, has been mistaken for a Lolita movie; on a deeper plane, it questions the manner in which one collects or rejects experience. Rohmer's first "hit" was My Night at Maud's (1969), which was nominated for two Oscars and won several international awards. It continues to be his best-known work. In it, on the eve of a proclaiming his love to Francoise, his future wife, the narrator spends a night with a pretty divorcée named Maud. Along with a friend, the two have a discussion on life, religion and Pascal's wager (i.e., the necessity of risking all on the only bet that can win.) Left alone with the sensual Maud, the narrator is forced to test his principles. The final parts in the series, Claire's Knee (1970) and Love in the Afternoon (1972) are mid-life crisis tales that cleverly reiterate the notion of self-restraint as the path to salvation.
"Comedies et Proverbs," Rohmer's second cycle, deals with deception. The Aviator's Wife (1981) is the story a naïve student who suspects his girlfriend of infidelity. In stalking her ex-lover and ultimately confronting her, we discover the levels on which he is deceiving himself. Another masterpiece is Pauline at the Beach (1983), a seaside film about adolescents' coming-of-age and the childish antics of their adult chaperones. Of the remaining installments, The Green Ray (1986) and Boyfriends and Girlfriends (1987) are the most appealing. The director's last series is known as "Contes des quatre saisons" (i.e., Tales of the Four Seasons), which too presents the dysfunctional relationships of eccentrics. In place of the social games of "Comedies et Proverbs", though, this cycle explores the lives of the emotionally isolated. A Tale of Springtime (1990) and A Tale of Winter (1992) are the more inventive pieces, the latter revisiting Ma Nuit chez Maud's "wager." Just as his oeuvre retraces itself thematically, Rohmer populates it with actors who appear and reappear in unusual ways. The final tale, Autumn Tale (1998), brings together his favorite actresses, Marie Rivière and Béatrice Romand. Like "hiver," it hearkens back to a prior project, A Good Marriage (1982), in examining Romand's quest to find a husband.
Since 1976, Rohmer has made various non-serial releases. Four Adventures of Reinette and Mirabelle (1987) and Rendez-vous in Paris (1995), both composed of vignettes, are tongue-in-cheek morality plays that merit little attention. The lush costume drama The Marquise of O (1976), in contrast, is an excellent study of the absurd formalities of 18th century aristocracy and was recognized with the Grand Prize of the Jury at Cannes. His other period pieces, regrettably, have not been as successful. Perceval le Gallois (1978), while original, is a failed experiment in stagy Arthurian storytelling, and the beautifully dull The Lady and the Duke (2001) is equally unsatisfying for most fans of his oeuvre. Nonetheless, the director has demonstrated incredible consistency, and that he was able to deliver a picture of this caliber so late in his career is astounding. The legacy that this man has bestowed upon us rivals that of any auteur, with arguably as many as ten tours de force over the last four decades. Why, then, is he the least honored among the ranks of the Nouvelle Vague and among all cinematic geniuses?
Stories of Rohmer's idiosyncrasies abound. An ardent environmentalist, he has never driven a car and refuses to ride in taxis. There is no telephone in his home. He delayed the production of Ma Nuit chez Maud for a year, insisting that certain scenes could only be shot on Christmas night. Once, he requested a musical score that could be played at levels inaudible to viewers. He refers to himself as "commercial," yet his movies turn slim profits playing the art house circuit. Normally, these are kinds of anecdotes that would endear a one with the cognoscenti. His most revealing quirk, however, is that he declines interviews and shuns the spotlight. Where Hitchcock, for instance, was always ready to talk shop, Rohmer has let his films speak for themselves. He is not worried about WHAT people think of them but THAT, indeed, they think.
It would be dangerous to supplant the aforementioned "je ne sais quoi" with words. Without demystifying Rohmer's cinema, still there are broad qualities to which one may point. First, it is marked by philosophical and artistic integrity. Long before Krzysztof Kieslowski, Rohmer came up with the concept of the film cycle, and this has permitted him to build on his own work in a unique manner. A devout Catholic, he is interested in the resisting of temptation, and what does not occur in his pieces is just as intriguing as what occurs. Apropos to the mention of his spirituality is his fascination with the interplay between destiny and free will. Some choice is always central to his stories. Yet, while his narrative is devoid of conventionally dramatic events, he shows a fondness for coincidence bordering on the supernatural. In order to maintain verisimilitude, then, he employs more "long shots" and a simpler, more natural editing process than his contemporaries. He makes infrequent use of music and foley, focusing instead on the sounds of voices. Of these voices, where his narrators are male (and it is ostensibly their subjective experience to which we are privy), his women are more intelligent and complex than his men. Finally, albeit deeply contemplative, Rohmer's work is rarely conclusive. Refreshingly un-Hollywood, rather than providing an escape from reality, it compels us to face the world in which we live.Director (as Eric Rohmer)- Actor
- Producer
- Soundtrack
John Forysthe was born Jacob Lincoln Freund in Penns Grove, New Jersey, the son of Blanche Materson (Blohm) and Samuel Jeremiah Freund, a Wall Street businessman. He chose to pursue acting over the objections of his father. He did some work in radio soaps and on Broadway before signing a movie contract with Warner Bros. His early career was interrupted by World War II. During the war, he enlisted in the Army Air Corps appearing in the Air Corps show "Winged Victory". After the war, he helped found the Actors Studio. He has had the most success on television, with healthy runs on Bachelor Father (1957), Dynasty (1981) and as the unseen voice of Charlie Townsend on Charlie's Angels (1976). John Forsythe died at age 92 of complications from pneumonia on April 1, 2010 in Santa Ynez, California.Actor- Writer
- Producer
- Actor
Irving Ravetch was born on 14 November 1920 in Newark, New Jersey, USA. He was a writer and producer, known for Hud (1963), The Cowboys (1972) and Norma Rae (1979). He was married to Harriet Frank Jr.. He died on 19 September 2010 in Los Angeles, California, USA.Writer / Producer- Art Director
- Production Designer
- Art Department
Robert F. Boyle was born on 10 October 1909 in Los Angeles, California, USA. He was an art director and production designer, known for North by Northwest (1959), Fiddler on the Roof (1971) and The Shootist (1976). He was married to Bess Boyle. He died on 1 August 2010 in Los Angeles, California, USA.Art Director / Production Designer- The son of a Newark dentist, Robert Ellenstein grew up in that New Jersey city and saw his father go on to become its two-term mayor. He got his feet wet acting-wise prior to serving with the Air Corps during World War II; earning a Purple Heart during his service, he began acting, directing and teaching in Cleveland, Ohio. A veteran of the "Golden Age" of live television (he played Quasimodo in a live Robert Montgomery Presents (1950) version of "The Hunchback of Notre Dame"), he made his first film in 1954 (MGM's Rogue Cop (1954)) and was still active in television and regional theater. He taught theatre professionally and academically for over 50 years, founding the Los Angeles Academy of Stage and Cinematic Arts. He was artistic director of The Company of Angels and founding artistic director of the Los Angeles Repertory Company. He was best known for having played the villain in the pilot episode of Moonlighting (1985), and then the Federation President in Star Trek IV: The Voyage Home (1986). Robert Ellenstein died at age 87 of natural causes on October 28, 2010.Actor