Hypothetical 1986 SAG Awards Memoriam
Those actors and actresses who could have been featured in a hypothetical memoriam for a hypothetical 1986 SAG Awards ceremony
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- Actor
- Soundtrack
Brian Aherne was an Oscar-nominated Anglo-American stage and screen actor who was one of the top cinema character actors in the 1930s, 1940s and 1950s. Born on May 2, 1902, in Kings Norton, Worcestershire, England, Aherne performed as an actor as a child. At age 18, he made his debut as an adult with the company that would evolve into the world-famous Birmingham Repertory Theatre. Three years later, he made his debut in London's West End, the English equivalent of Broadway. After his experience in Birmingham, Aherne studied architecture, but a life as an actor was too strong to resist, so he returned to the theater in 1923. For the next eight years, he toured the provinces and appeared in the West End in various productions. In 1931, he made his Broadway debut playing Robert Browning in "The Barretts of Wimpole Street." He alternated between the New York and London stage in the early 1930s. Aherne made his movie debut in 1924, and in the mid-1930s, he moved to Hollywood. In 1940, he was nominated for an Academy Award as Best Supporting Actor for Juarez (1939) for playing the Emperor Maximilian. Brian Aherne published his autobiography in 1969, and 10 years later, he published a biography of his friend George Sanders, entitled "A Dreadful Man." He died at age 83 of heart failure on February 10, 1986, in Venice, Florida.- Actor
- Director
- Soundtrack
Robert Alda's career began in vaudeville, as a singer-dancer. Graduating to performing on radio and in burlesque, he made a splashy film debut as George Gershwin in Rhapsody in Blue (1945). His film career faltered somewhat after that, but he had much greater success on the Broadway stage in such productions as "Guys and Dolls" and "What Makes Sammy Run." Settling in Rome in the early 1960s, he appeared in many Italian and European films over the next 15 years. While many of them were quite successful in Europe, few made it to the United States. Alda is the father of actor Alan Alda and Antony Alda.- Producer
- Actor
- Production Manager
Desiderio Alberto Arnaz y de Acha III was born in Santiago, Cuba on March 2, 1917. His father was the mayor of Santiago. The 1933 revolution led by Fulgencio Batista had landed his father in jail and stripped the family of its wealth, property and power. His father was released because of the intercession of U.S. officials who believed him to be neutral during the revolt. The family fled to Miami, Florida. One of Desi's first jobs in America consisted of cleaning canary cages. However, after forming his own small band of musicians, he was hired by Xavier Cugat, the "king" of Latin music.
Desi soon left Cugat, formed his own Latin band, and literally launched the conga craze in America. He was cast in the Broadway play "Too Many Girls" and then brought to Hollywood to make the film version of the play. It was on the set of Too Many Girls (1940) that he and Lucille Ball met. They soon married and approximately 10 years later formed Desilu Productions and began the I Love Lucy (1951) shows. Desi and Lucille had two children, Lucie Arnaz and Desi Arnaz Jr.. At the end of the I Love Lucy (1951) run, which included The Lucy-Desi Comedy Hour (1957), the two divorced. Desi later wrote an autobiography entitled "A Book." In 1986 he was diagnosed with lung cancer. He died on December 2, 1986 at age 69.- A respected stage actress, brunette Edith Atwater was another of those performers who never quite managed to break into films. She was trained at the American Laboratory Theatre and began her acting career at the age of eighteen. She was on Broadway from 1931, her carefully coiffed patrician looks and mature manner rather suited to playing well-bred socialites. Her first lead was in a forgotten comedy, "Springtime for Henry" (which has the singular distinction of having its title co-opted by Mel Brooks for The Producers (1967) as "Springtime for Hitler"). However, better parts were in store: leads in hit plays like "The Country Wife" (1936), "Susan and God" (1937), "State of the Union" (1945), and, her best role yet, as Maggie Cutler opposite Monty Woolley in "The Man Who Came to Dinner" (1939). Bette Davis eventually got to star in the classic film version, whereas Edith had a just few inconsequential movie bits to show for in the 30's.
She didn't make an impact on screen until her role as Henry Daniell's housekeeper Meg Cameron in Val Lewton's brilliant horror thriller The Body Snatcher (1945). Nothing of substance followed until much later, when she popped up as an indomitable, over-protective socialite mother in William Castle's lurid psycho-thriller Strait-Jacket (1964). For the most part, however, Edith was typecast in maternal roles, or as nurses or secretaries which she always played believably. More often than not, we'd see her on the small screen, often in recurring roles as in the "Barefoot in the Park" lookalike Love on a Rooftop (1966), Grace Morton in Peyton Place (1964), or as Aunt Gertrude in The Hardy Boys/Nancy Drew Mysteries (1977).
Edith was married to actors Hugh Marlowe and Kent Smith who both predeceased her. - Actress
- Soundtrack
A brash character actress who specialized in cinema, television, and theater, Hermione Youlanda Ruby Clinton-Baddeley was born on November 13, 1906 in Broseley, Shropshire. She was the youngest of four sisters - including Angela Baddeley, also an actress - and her half-brother, Very Rev William Baddeley, was a Church of England Minister.
Not much is known about Baddeley's early life. She made her stage debut in 1918, and became popular in London stage comedies and revues prior to World War II, known for her dancing talent and natural comic ability. She memorably performed several times with Hermione Gingold. Baddeley made her film debut in 1927, with a role in the extremely obscure silent comedy A Daughter in Revolt (1927), but didn't come to attention until twenty years later, when she portrayed the affable but blowzy Ida in the film noir Brighton Rock (1948).
Known for her memorable character roles, Baddeley dabbled in such movies as Passport to Pimlico (1949), A Christmas Carol (1951), Tom Brown's Schooldays (1951), The Pickwick Papers (1952), The Belles of St. Trinian's (1954), Mary Poppins (1964), and The Unsinkable Molly Brown (1964). She was nominated for the Academy Award for Best Supporting Actress for her acid-tongued performance in Room at the Top (1958). At two minutes and thirty-two seconds, it is the shortest performance to ever be nominated for the award.
Baddeley became a household favorite for her role as irritable cockney housekeeper Mrs. Naugatuck on the '70s comedy series Maude (1972). She landed guest spots on multiple other shows, including but not limited to Hancock's Half Hour (1956), The Patty Duke Show (1963), Bewitched (1964), Night Gallery (1969), The Bionic Woman (1976), The Love Boat (1977), Charlie's Angels (1976), Wonder Woman (1975), Fantasy Island (1977), and Magnum, P.I. (1980).
Baddeley's two marriages failed, and she had a daughter, Pauline Tennant, from her first. She was in a long-term relationship with actor Laurence Harvey until he left her for Margaret Leighton, and died on August 19, 1986 at the age of 79 following a series of strokes.- Actor
- Writer
- Soundtrack
The character actor Herschel Bernardi was born into a theatrical family on October 30, 1923, in New York, New York. The Yiddish-language theater in the United States was centered in New York City's Lower East Side, on Second Avenue, and the Bernardi family were stage people who plied their craft in Yiddish, as did the Adler Family (Jacob and his children Luther and Stella), Paul Muni and the young Sidney Lumet. The young Herschel was a trouper and appeared on the stage as a child and as a teenager. As a teen, he appeared in the movies Green Fields (1937) and Yankel the Blacksmith (1939), which were shot in Yiddish and directed by future Hollywood B-movie director Edgar Ulmer.
The adult Bernardi, who briefly used the name "Harold" professionally in place of the more ethnic-sounding "Herschel," appeared in bit parts in Hollywood B pictures. In the early 1950s, his movie and television career suffered when he was blacklisted for alleged communist sympathies. After being cleared, Bernardi began to work steadily on TV, in the movies and on the stage.
In 1958, he made his first impact on popular American culture as Lieutenant Jacoby, the hapless policeman who was a friend of Craig Stevens's eponymous private detective Peter Gunn (1958) in Blake Edwards' influential TV series. "Peter Gunn" was heavily indebted to film noir, German expression, and California cool jazz, and the contrast of the harassed Jacoby with the coolly patrician Gunn was part of the dynamic that drove the series. For his role as Lt. Jacoby, Herschel Bernardi received his sole Emmy nomination, in 1959.
Possessed of a resonant voice, Bernardi did a lot of voice over work on television, providing the "Ho ho ho!" of the Jolly Green Giant and the voice of Charley the Tuna in TV commercials. Most famously, he used his singing voice to take over for Zero Mostel as Tevye the milkman in the Broadway musical Fiddler on the Roof (1971), which was a smash hit when it debuted in 1964. In addition to two stints on Broadway, in both the original show and the revival, Bernardi played Tevye in several road show tours. He was nominated for a Tony in the Broadway revival. He received his first Tony nomination in 1969 for playing the lead in the musical "Zorba."
Off the Broadway stage, Herschel Bernadi was a supporting character owing to his average face. Yet in 1970, Bernardi finally played a leading man in a filmed entertainment when he was cast as Arnie Nuovo, an ethnic blue-collar worker who is promoted off of the loading dock into management by an eccentric business owner. As the eponymous Arnie (1970), Bernardi was twice nominated for a Golden Globe. The series was canceled after two seasons.
Bernardi continued to find steady work as a character actor, mostly on TV. In 1976, he appeared in support of Woody Allen in Martin Ritt's The Front (1976), a movie about the Hollywood blacklist that also featured another of the Big Three Tevyes, Zero Mostel. (Both Bernardi and Mostel were beaten out for the role in the Fiddler on the Roof (1971) movie by Topol, who received an Oscar nomination in the role and took over Bernardi's place as Tevye in traveling road shows of "Fiddler on the Roof" after Bernardi's death.) Mostel, like Ritt, had been blacklisted in the 1950s.
Herschel Bernardi died on May 9, 1986, at the age of 62, still a working actor whose services had been in demand from childhood.- Actress
- Soundtrack
Susan Cabot was born in Boston and raised in a series of eight foster homes. She attended high school in Manhattan, where she took an interest in dramatics and joined the school dramatic club. Later, while trying to decide between a career in music or art, she illustrated children's books during the day and sang at Manhattan's Village Barn at night. It was at this same time that she made her film debut as an extra in Fox's New York-made Kiss of Death (1947) and worked in New York-based television. Maxwell Arnow, a casting director for Columbia Pictures, spotted Cabot at the Village Barn, and a co-starring role in that studio's B-grade South Seas drama On the Isle of Samoa (1950) resulted. While in Hollywood Cabot was also signed for the role of an Indian maiden in Universal's Tomahawk (1951) with Van Heflin. Subsequently signed to an exclusive contract by Universal, Cabot co-starred in a long string of films opposite leading men like John Lund, Tony Curtis and Audie Murphy. Inevitably, she became fed up with the succession of western and Arabian Nights roles, asked for a release from her Universal pact and accepted an offer from Harold Robbins to star in his play "A Stone for Danny Fisher" in New York. Roger Corman lured her back to Hollywood to play the lead in the melodramatic rock-'n-'roller Carnival Rock (1957) and she stayed on to star in five more films for the enterprising young producer-director. After a highly publicized 1959 fling with Jordan's King Hussein, Cabot divided her time between TV work and roles in stage plays and musicals.- Born in the Harlem section of New York City, joined the Navy, then studied drama at New York University; was an announcer for then joined the Negro Ensemble Co. in 1970 for such productions as "The River Niger", "Square Root of the Soul" and "The Brownsville Raid"; worked with repertory groups such as the Minnesota Theater Co., Inner City Repertory Co., and the American Shakespeare Co.; first appeared on the screen in 'Che! (1969), then returned to stage until the late 1970s when he did low-budget films The Hitter (1978), Fist of Fear, Touch of Death (1980)) before achieving his greatest success in A Soldier's Story (1984) (from the stage play for which he collected two awards), which earned him an Oscar nomination; appeared in The Color Purple (1985) and was working on Tough Guys (1986) with Burt Lancaster and Kirk Douglas when he collapsed on the set of a heart attack and died a short time later. He was only 52.
- Actor
- Director
- Producer
One of Hollywood's preeminent male stars of all time, James Cagney was also an accomplished dancer and easily played light comedy. James Francis Cagney was born on the Lower East Side of Manhattan in New York City, to Carolyn (Nelson) and James Francis Cagney, Sr., who was a bartender and amateur boxer. Cagney was of Norwegian (from his maternal grandfather) and Irish descent. Ending three decades on the screen, he retired to his farm in Stanfordville, New York (some 77 miles/124 km. north of his New York City birthplace), after starring in Billy Wilder's One, Two, Three (1961). He emerged from retirement to star in the 1981 screen adaptation of E.L. Doctorow's novel "Ragtime" (Ragtime (1981)), in which he was reunited with his frequent co-star of the 1930s, Pat O'Brien, and which was his last theatrical film and O'Brien's as well). Cagney's final performance came in the title role of the made-for-TV movie Terrible Joe Moran (1984), in which he played opposite Art Carney.- Stunts
- Actor
- Second Unit Director or Assistant Director
Starting out as a rodeo cowboy and then becoming a stuntman in silent westerns, Yakima Canutt later doubled for such stars as Clark Gable and John Wayne, among others, in such dangerous activities as jumping off the top of a cliff on horseback, leaping from a stagecoach onto its runaway team, being "shot" off a horse at full gallop and other such potentially life-threatening activities. He became expert at staging massive events involving livestock, such as cattle stampedes and covered-wagon races, as well as Indians-vs.-cavalry battles on a grand scale. Canutt's most noteworthy achievement as a second-unit director came in his staging and direction of the chariot-race sequence in William Wyler 's Ben-Hur (1959)--which, from initial planning to final execution, took two years.- Actor
- Additional Crew
- Soundtrack
Comedian, composer, songwriter ("At Dusk", "I Came to Say Goodbye"), author and trombonist, educated in high school, then a trombonist with the Columbia Symphony (1931-1936). He was a member of the Bob Hope radio program, and appears in many films. Joining ASCAP in 1956, his other songs include "Life of a Sailor", "Sleighbells in the Sky", "Take Your Time", and "One Day".- Actor
- Producer
- Soundtrack
Broderick Crawford is best remembered for two roles: his Oscar-winning turn as Willie Stark in All the King's Men (1949) and as Chief Dan Mathews on the syndicated TV series Highway Patrol (1955). He was also memorable as Judy Holliday's vulgar partner in Born Yesterday (1950), roles both actors had originated on Broadway to great acclaim.
He was born William Broderick Crawford on December 9, 1911, in Philadelphia, Pennsylvania, to vaudeville performers Lester Crawford and Helen Broderick. His mother had a brief movie career acting in Hollywood comedies. Broderick Crawford, large and burly, was no one's idea of a leading man due to his rough-and-tumble looks, but he broke through playing John Steinbeck's simple-minded giant Lenny in the Broadway adaptation of Steinbeck's novella "Of Mice and Men". After this Broadway success, Crawford moved to Hollywood and made his cinema debut in the comedy Woman Chases Man (1937), in a supporting role to stars Joel McCrea and Miriam Hopkins. When producer-director Lewis Milestone was casting the movie version of Steinbeck's classic (Of Mice and Men (1939)), he passed over Crawford and selected Lon Chaney Jr. to play Lenny.
After many supporting roles (including a memorable turn as a big but kindhearted lug in the comedy Larceny, Inc (1942)) and a stint in the military during World War II, Crawford had his breakthrough role in Robert Rossen's adaptation of Robert Penn Warren's Pulitzer Prize-winning novel "All the King's Men". Crawford gave a masterly performance as the southern U.S. politician based on Louisiana's Huey Long. In addition to the Oscar, he also won the New York Film Critics' Award for Best Actor. All the King's Men (1949) was a hit, as was Born Yesterday (1950). (Crawford had also played the role on Broadway, succeeding Paul Douglas, who originated the role.) However, Crawford soon after became typecast as crude or brutish.
Five years after copping the Academy Award, TV producer Frederick W. Ziv hired Crawford to play the lead role in his syndicated police drama "Highway Patrol". The show ran for four seasons. Crawford's career, moribund in the early 1950s, revived, but he generally eschewed the big screen, preferring television, for the remainder of his career. He continued to act almost up until his death in Rancho Mirage, California, on April 26, 1986, at age 74, following a series of strokes.- Actor
- Soundtrack
Scatman Crothers was born Benjamin Sherman Crothers on May 23, 1910 in Terre Haute, Indiana. Songwriter ("Dearest One"), actor, composer, singer, comedian, and guitarist who, after high school, appeared in nightclubs, hotels, and films, and on television. He made many records, including his own compositions. He joined ASCAP in 1959, and his popular-song compositions also include "The Gal Looks Good", "Nobody Knows Why", "I Was There", "A Man's Gotta Eat", and "When, Oh When". Scatman Crothers died at age 76 of pneumonia and lung cancer at his home in Van Nuys, California on November 22, 1986.- Actor
- Director
- Soundtrack
Howard da Silva was one of 324 actors, writers and directors who fell victim to the Hollywood blacklisting of the early 1950s, and had his career halted in the blink of an eye. Originally was a steelworker before making his stage debut at age 20 in New York. He made a name for himself on Broadway before going to Hollywood, but kept up his stage work after making the move to films. His most memorable performance came in the 1943 Broadway production of Oklahoma!. In Hollywood, he became a well-liked character actor, appearing in such films as Sergeant York (1941), The Big Shot (1942) and The Lost Weekend (1945). In 1947, his career was threatened when the House Un-American Activities Committee (HUAC) began its investigation into alleged Communist influence of Hollywood. Actor Robert Taylor, called as a "friendly witness", accused many of his fellow actors and writers of either being communists or having communist sympathies. When questioned about da Silva, Taylor said, "I can name a few who seem to sort of disrupt things once in a while. Whether or not they are communists I don't know. One chap we have currently, I think is Howard da Silva. He always seems to have something to say at the wrong time." On November 25, 1947, a meeting of Hollywood executives held in New York released a statement known as the Waldorf Statement, in which they announced a blacklist would be immediately imposed aimed at anyone named or suspected as a communist. "We will forthwith discharge or suspend without compensation those in our employ and we will not re-employ any of the ten until such time as he is acquitted or has purged himself of contempt and declares under oath that he is not a communist." Howard appeared in a few more films before he was called before HUAC, refused to answer any of the committee's questions and was promptly blacklisted by the studios. He continued working in the theatre, and once the blacklist was lifted in the early 1960s made a return to film and television. He passed away two years after making his last movie.- Actor
- Director
Actor-turned-director Robert Drivas showed dark, brooding power and strong potential on the 60s stage, film and TV but, in the long run, did not achieve the kind of success he deserved. Born on November 21, 1935, the Coral Gables, Florida native initially studied his craft at the Universities of Chicago and Miami. He also trained at the Greek Playhouse in Athens and the Coconut Grove Playhouse in Miami. Making a potent New York debut as Ramses in the play "The Firstborn" (1958) starring Anthony Quayle as Moses and producer Katharine Cornell in the role of Bithiah, Drivas continued to be impressive on stage with "One More River" (1960), "The Wall" (1960), "The Irregular Verb to Love" (1963), "And Things That Go Bump in the Night" (1965) and "Where Has Tommy Flowers Gone?" (1971). In 1963 he won a Theatre World Award for his performance in "Mrs. Dally Has a Lover" alongside another TWA winner Estelle Parsons.
The attention he received on the theater boards eventually led to TV. Drivas showed great intensity and lasting power in episodic guest parts on such 60s crime shows as N.Y.P.D. (1967) and The Defenders (1961), and was a popular and frequent guest on The F.B.I. (1965). He also appeared as a guest star in episodes of Route 66 (1960) and 12 O'Clock High (1964). His first film appearance was long in coming but drew noticeable attention with the featured role of Loudmouth Steve in the classic prison drama, Cool Hand Luke (1967). This auspicious debut led to a couple of "generation gap" movies in which he was bumped up to co-star billing. Sharing the screen with Rod Steiger and Claire Bloom in the controversial LSD-influenced The Illustrated Man (1969), Drivas was intoxicating in his role but the film itself was deemed too "far out" and was considered a failure. Drivas was also quite impressive as the ultra-cool but idealistic son of David Janssen in Where It's At (1969). Again, the film was dismissed and Drivas did not advance. He went on to make only four more movies, all independent and/or foreign-made features and all overlooked.
Drivas turned successfully to stage directing in the 1970s, which included a number of Broadway projects. He gained progressive respect with his directing of such plays as "Bad Habits," for which he won an Obie award, the uproarious farce "The Ritz," "Legend," "Cheaters," "It Had to Be You," which starred the writing husband-and-wife team of Joseph Bologna and Renée Taylor, a revival of the musical "Little Me," and, his last, "Peg" in 1983 a short-lived reenactment of the life of songstress Peggy Lee with lyrics and book by the star herself. A few years later Drivas tragically died of AIDS-related cancer at the age of 50.- Marjorie Eaton was born on 5 February 1901 in San Francisco, California, USA. She was an actress, known for Monstrosity (1963), Night Tide (1961) and That Forsyte Woman (1949). She died on 21 April 1986 in Hollywood, California, USA.
- Actor
- Soundtrack
Leif Erickson was born on 27 October 1911 in Alameda, California, USA. He was an actor, known for The High Chaparral (1967), On the Waterfront (1954) and Show Boat (1951). He was married to Annie Ruth Diamond, Margaret Hayes and Frances Farmer. He died on 29 January 1986 in Pensacola, Florida, USA.- Actor
- Writer
- Director
Emilio "El Indio" Fernandez Romo is the most famous person in the history of Mexican movies. For an era he symbolized Mexico due to his violent machismo, rooted in the Revolution of 1910-17, and because of his staunch commitment to Mexican cultural nationalism. Born to a Mexican (Mestizo) father and a Native American Kickapoo mother, Emilio was himself the "mestizaje" (mestizo) that his films would later glorify.
The teenaged Fernandez abandoned his studies to serve as an officer in the Huertista rebellion, which broke out on 12/4/1923, led by Gen. Adolfo de la Huerta. On July 20th of that year, Pancho Villa had been ambushed and murdered; one theory was that the killing was done by agents of Mexican President Álvaro Obregón. Obregon, when he served as a general during the revolution, had defeated Villa in four successive battles collectively known as the Battle of Celaya, which was the largest military confrontation in Latin-American history before the 1982 Falklands War.
Under the Constitution of 1917 that Obregon himself helped write, Mexican presidents could not succeed themselves (Obregon would later have the constitution amended so he could serve a second, non-consecutive term; after winning the presidential election of 1928, he was assassinated before his inauguration). Obregon had won the presidency in 1920 after inciting a successful military revolt against President Venustiano Carranza, who had planned on naming Ignacio Bonillas as his successor instead of Obregon, who believed that he deserved it. The revolt began when the governor of the state of Sonora, Gen. Huerta, broke with President Carranza and declared the secession of Sonora. This was a signal for the beginning of the successful uprising against Carranza, led by Obregon and supported by Gen. Plutarco Elías Calles. After Carranza was killed in an ambush, Huerta served as provisional president of Mexico from 6/1/1920 to 12/1/1920, until elections could be held. When Obregon won the federal election, Huerta became Minister of Finance in the new government.
Huerta considered himself the natural successor to President Obregon, just as Obregon had considered himself Carranza's natural successor. The murdered Villa was seen as an ally of Huerta, who had publicly announced his candidacy for the presidency. Obregon, however, planned to remain in power by handpicking his successor, a tradition that lasted throughout 20th-century Mexican politics. When he named his anti-clerical Minister of the Interior, the former Gen. Calles, as his heir, Huerta rose up in a rebellion that eventually affected half of the Mexican army. Like Huerta a native of Sonora and a former general in the Mexican army, Calles had preceded him as governor and military ruler of their home state from 1915-16. Huerta thought his service and loyalty to Obregon should have brought him the presidency, but Mexican presidents, not allowed to succeed themselves and limited (mostly) to one term, tried to extend their power by naming political puppets as successors (Calles would outdo Obregon by controlling the Mexican presidency outright or through puppets from 1924-34).
The rebellion was a serious threat to Obregon, but he was able to quash it by using loyal army units, battalions of workers and farmers and intervention by the US. By the time the revolt ended in March 1924, 54 generals and 7,000 soldiers were gone, either killed in battle, executed, exiled or dismissed. Obregon banished Huerta to exile in the US (where he lived in Los Angeles, supporting himself as a music teacher). This was the cauldron of violence and nationalism in which the young Fernandez came into his manhood. He received a 20-year prison sentence for his participation in the rebellion on the losing side. Escaping prison by following Huerta into exile in Los Angeles, Fernandez absorbed the rudiments of filmmaking as a bit player and extra working in Hollywood in the 1920s and early 1930s. With the election of Lázaro Cárdenas as president in 1934, the Huertista rebels were granted an amnesty (Huerta himself was recalled from exile by Cardenas in 1935 and served in several posts, including Inspector General of Foreign Consulates and Director General of Civil Pensions). Fernandez returned to Mexico in 1934 and began working in the Mexican movie industry as a screenwriter and actor. His Indian looks, which gave him his nickname "El Indio," also brought him his first lead role, playing an Indian in Janitzio (1935). Due to his imposing physical presence and Indian countenance, El Indio was cast as bandits, charros (cowboys) and revolutionaries.
The Cardenas government of 1934-40 established the framework in which the "Golden Age of Mexican Cinema" could be realized. The political system that dominated Mexico for over half a century was consolidated during his regime. The government incorporated trade unions, campesino (peasant) organizations and middle-class professionals and office workers into the ruling Party of the Mexican Revolution (later the Party of the Institutional Revolution, or PRI). Cardenas oversaw the redistribution of millions of acres of land to peasants and the expansion of collective bargaining rights and wage increases to workers.
Cardenas and all subsequent PRM/PRI presidents (all presidents of Mexico in the 20th century beginning with Calles were PRM/PRI members; Vicente Fox was the first from outside the party in three-quarters of a century) maintained political control of Mexico by granting favors and concessions to their constituencies inside the corporatist party structure in exchange for worker and campesino organizations delivering votes and suppressing discontent among their constituencies. The PRM/PRI itself created an organizational structure for the government that allowed citizens access to the political realm, in the sense that they could interface with government agencies. Once inside the government machine, seeking redress, favors, etc., the non-connected citizen was led through a maze of layers of bureaucracy that never permitted a satisfactory result. Citizens caught in the maze were eventually frustrated and discouraged, but the ingenious if disingenuous system worked as it gave them input--just no guaranteed output. By frustrating them within an institutional structure, the PRM/PRI governments--both federal and state--took the fight out of them. The PRM/PRI sought to control frustration that had led to violence in the past, particularly among the generals who had the power to destabilize the society and economy. That government structure thus served as a homeostatic device for the people's frustration, relieving it and never allowing it to build up again into a revolutionary situation.
Cardenas' most notable achievement arguably was the nationalization of Mexico's oil industry. After unsuccessfully trying to negotiate better terms with Mexican Eagle--the holding company owned by Royal Dutch/Shell and Standard Oil of New Jersey--Cardenas nationalized Mexico's petroleum reserves and expropriated the equipment of the foreign oil companies on 3/18/38. A spontaneous six-hour parade broke out in Mexico City to celebrate the event. Unlike Fidel Castro's nationalization of foreign assets in Cuba, Shell and SONJ were compensated for their expropriated assets. Petroleos Mexicanos (Pemex) and the Mexican model became a beacon for other oil-producing nations seeking to gain control over their own energy resources from foreign companies. Cardenas was the only PRM/PRI president who did not enrich himself while in office. After retiring as Minister of Defense in 1945--the post he took after relinquishing the presidency--he assumed a modest lifestyle. He spent the last years of his life supervising irrigation projects and promoting education and free medical care for the poor. This was the man who set the tone of the modern Mexico that arose from the revolution and civil wars of the 1920s, who cleared the ground for the economic boom of the 1940s in which the "Golden Age of Mexican Cinema" reached its apogee. Classic Mexican cinema has mostly been ignored in the US due to the language barrier and a colonialist mindset suffused with racism. When Mexican cinema has been addressed by those north of the border, the primary focus fell on the brilliant cinematography of Gabriel Figueroa, who shot films for John Ford and John Huston, or on former Hollywood star Dolores Del Río. Fernandez's reputation was so great that he was even appreciated in the US in his lifetime, but his notoriety as a sort of wildman of the Mexican movie industry and his appearance as an actor in Sam Peckinpah's The Wild Bunch (1969) overshadowed his greatness as a director. While Mexico has often served as a locale for American films--the genres of sweet (white) young things imperiled by swarthy Mexican bandits and of Americans in revolutionary Mexico, to say nothing of Zorro and The Cisco Kid--have been part of the Yankee cinema since the East Coast-based film companies began relocating to southern California in the early 1910s. Gringo Warner Baxter won the second Oscar ever awarded for Best Actor playing The Cisco Kid in a role originally intended for Raoul Walsh, of all people. Mexico has been the site of such blockbuster films as Viva Villa! (1934), Juarez (1939), Viva Zapata! (1952), Vera Cruz (1954), The Professionals (1966) and "The Wild Bunch," but except for La caza del oro (1972), a Johnny-Come-Lately to the genre, they seldom featured Mexican actors in anything other than bit parts, if at all, with the exception of Anthony Quinn, one of the few Mexican-Americans to achieve superstar status. Mexican performers taken up by Hollywood --such as Ramon Novarro, Rita Hayworth, John Gavin and Raquel Welch--were, like half-Mexican baseball great Ted Williams (born in San Diego), de-ethnicized in a sort of cultural ethnic cleansing. Salma Hayek, who is of mixed Mexican and Lebanese parentage, is arguably the first Mexican since Lupe Velez and Dolores del Rio to cross over as a Hollywood superstar and remain identifiably Mexican (even at the dawn of a new millennium, she was urged by her Hollywood agents to play up her Arabic ethnicity, even with anti-Arab feeling rife in Hollywood and the US at large--their "reasoning" was that no one would go see a Mexican in movies since their cleaning ladies were Mexican),
Until the 1990s, with Like Water for Chocolate (1992) ("Like Water for Chocolate"), Mexican films themselves seldom strayed in the Yankee consciousness, except for the rare one like The Pearl (1947), based on a novel by Californian John Steinbeck and a prize-winner at the Venice Film Festival. "La Perla" was directed by Fernandez, the greatest director to come out of Mexico's golden age of cinema. The first Mexican feature was released in 1906, though production often was eclipsed by political and economic conditions. There were documentaries made about the Mexican Revolution in the 1910s, but very few films were made in the 1920s. Sergei Eisenstein's trip to Mexico in the early 1930s to make Que Viva Mexico (1979), which remained unfinished due to his problems with his American backer, Upton Sinclair, injected a new enthusiasm into the Mexican movie industry.
While most American film historians place the Golden Age firmly in the 1940s--some specifically assigning it to the period 1943-46 and others extending it until the mid-'50s--the Golden Age of Mexican Cinema properly stretches back to 1936, peaks in the mid-'40s (when the Mexican cinema receives international recognition; two of Fernandez's films won the Grand Prix at the Cannes Film Festival and were nominated for the Golden Lion at the Venice Film Festivals) and terminates in the mid-'50s, with the end of Fernandez's 25-film collaboration with cinematographer Gabriel Figueroa. Figueroa, the Mexican movie industry's first great director, inaugurated the Golden Age in 1936 with two hits, Out on the Big Ranch (1936) ("Out at Big Ranch") and Let's Go with Pancho Villa (1936) ("Let's Go with Pancho Villa"). Both were "political message" movies addressing the social and cultural issues lying at the heart of Mexican Revolution. "Vamonos con Pancho Villa" has the distinction of being the first feature produced at the Mexican government-subsidized studio Cinematografica Latino Americana S.A., while "Allá en el Rancho Grande" made Tito Guízar a star. Guizar eventually became the Mexican movie industry's first superstar by playing in the "comedias rancheras" (ranch comedies) genre that was the most popular type of film in Mexico in the 1930s. A hit with audiences throughout Latin America, "comedias rancheras" were set in an idyllic, pre-revolutionary Mexico. The vaudevillian Mario Moreno, who became a Latin-American superstar under the name Cantinflas, made his short-subject debut in 1936 and would soon become the Latin-American film industry's leading comedian when he made his feature-film debut in You're Missing the Point (1940) ("There is the Detail"). The Cantinflas character is rooted in the image of the "pelado," or poor white trash, and his character deflates respectable society through his sharp repartee. Peace--i.e., a lack of overt domestic political turmoil--laid the groundwork for the development of a truly popular indigenous cinema in the 1930s and '40s. The comedias rancheras and Cantinflas comedies helped make the Mexican cinema commercially viable. With Hollywood distracted by turning out propaganda and military training films during World War II, there was an opening in Latin America that the Mexican industry filled. Without competition from Hollywood, the Mexican movie industry dominated Latin-American cinemas for most of the decade. Movie production tripled in the 1940s compared to the previous decade. The Mexican film industry underwent a consolidation and developed a star system, some of whom crossed over to achieve international recognition. The peak of the Golden Age of Mexican cinema came in the 1940s, spurred by rapid industrialization and a resulting affluence--although inequitably distributed--caused by trade with the US, as World War II boosted American demand for Mexican raw materials. The Mexican movie industry became the world's largest producer of Spanish-language films, helped by the fact that the other large producers, Argentina and Spain, were headed by fascist governments. Though the Mexican government was conservative and repressive in the 1940s, it encouraged the production of nationalist films that helped articulate a Mexican identity. During the 1940s Mexican movie stars and directors became popular icons, and some even became public figures with effective political influence. Among the movie stars blossoming during the decade were Dolores del Rio, Pedro Infante, Jorge Negrete, Joaquín Pardavé and María Félix, while Fernandez and Figueroa became globally known. Luis Buñuel moved to Mexico and would direct some of the country's major movies in the following decade.
Mexican movies typically were genre pictures, melodramas, romances, musicals, comedies and horror, which addressed all aspects of Mexican society, from love stories about the "lumpen proletariat" to dramas about the Indians. Mexican movies are a mirror of Mexican society, including history (19th-century dictator Porfirio Díaz and his court, The Revolution and Villa and Emiliano Zapata), obsessions (both familial and erotic) and mythology (Indian and big-city culture). Mexican cinema did this using the classic genres of the the melodrama, the comedy (in its romantic, musical and ranchera versions, and slapstick and farce) and even the horror film. With its proximity to Hollywood, and the fact that many leading lights of the Mexican cinema were familiar with Hollywood production values, the indigenous movie industry set a high standard for itself, as it had to measure up to Hollywood product.
Fernandez made his motion picture debut as an actor in Chano Urueta's El destino (1928), but his early work in movies was in American westerns churned out by Monogram director John P. McCarthy, including the Bob Steele programmers The Oklahoma Cyclone (1930), The Land of Missing Men (1930), Headin' North (1930), The Sunrise Trail (1931) and the Tim McCoy "hoss opera" The Western Code (1932). After a supporting role in Enrico Caruso Jr.'s La buenaventura (1934), he made his return to Mexican pictures in 1934, starring in Heart of a Bandit (1934) and director Fernando de Fuentes' Cruz Diablo (1934).
Fernandez's first film as a director was La isla de la pasión (1942), in 1941, which he also wrote and in which he played a bit part. The movie starred Pedro Armendáriz, who Fernandez would cast in many of his films. Another favorite collaborator was his wife Columba Domínguez. El Indio rapidly gained a reputation as Mexico's premier director making populist dramas. His Maria Candelaria (1944) put Mexican film on the map when it won the Grand Prize at the Cannes Film Festival in 1946. It has been variously praised as "the highest triumph of Mexican plastic arts on celluloid" and as "a titanic promise for strictly patriotic [Mexican] cinema." French film critic Georges Sadoul, in his 1954 book "Histoire General du Cinema," praised the film for its "authentic" portrayal of rural Mexican life and for addressing race relations.
The film remains controversial in Mexico due to El Indio's aesthetic choices, which emphasized the exotic and primitive, and his representation of Mexican Indians, which some critics believed was inauthentic or "touristy." The nationalistic Fernandez wanted to articulate an idea of what it meant to be Mexican that was uniquely Mexican, and not influenced by Hollywood, whose films he felt were Americanizing Mexican cinema audiences. Terming his films "autos sacramentales [passion plays] of mexicanidad," Fernandez wanted to create a Mexican cinema that Mexicanized Mexicans. The film stars Dolores del Rio, the Hollywood movie star who had returned to Mexico after becoming disillusioned with the American movie industry, as the daughter of a prostitute trying to survive just before the Revolution. Set in the floating gardens of Xochimilco in Mexico City, del Rio's character is shunned by the locals, who are indigenous people. Her great desire is to marry her lover, played by Pedro Armendariz, but their romance proves to be star-crossed. Fernandez's direction was flawless, and Figueroa's black-and-white cinematography was masterful. The collaborators created one of the classics of not just Mexican movies but of world cinema. When El Indio and Figueroa were making "Maria Candelaria," they were part of a movement in which Mexican filmmakers were consciously attempting to create an indigenous art cinema that could compete with Hollywood product while simultaneously articulating a vision of Mexicans that was rooted in the "indigenismo" and "mestizophilia" of Mexican intellectuals. José Vasconcelos, the Minister of Education during the Obregon administration, was particularly influential due to his concepts of "mexicanos en potencia" and the cosmic race. In Vasconcelos' philosophy, the "barbarous" Indian was redeemed by a modernization program based on education, and by the assimilation of the Indians with the Caucausian Europeans into "la raza" of mestizos ("mestizaje"). Gabriel Figueroa was conscious of the fact that he and Fernandez, a creative team that became known as "Epoca de Oro," invented an idea of rural Mexico that did not actually exist. Figueroa established himself as the leader in imagining a new, post-revolutionary Mexican consciousness, through the vehicle of the visual image. A "painter in light," Figueroa learned his craft from Gregg Toland and Eduard Tisse, Eisenstein's cinematographer. Figueroa is credited with creating the classic Mexican film aesthetic in collaboration with El Indio and other film directors. In over 200 movies, he developed the classic imagery and aesthetic of Mexican cinema, which also influenced and was influenced by contemporary Mexican artists. Figueroa pioneered an indigenous visual vernacular that affected the muralist movement, and he has been referred to as the fourth of the most important Mexican muralist after Orozco, Diego Rivera and David Siqueiros. Siqueiros himself called Figueroa's cinematography "murals that travel."
In their 25 films together between 1942-58, El Indio and Figueroa created the idea of "mexicanidad" cinema while elevating the mestizaje (mixed-race) identity, as well as the status of the pre-Columbian culture. The epic visual style they developed was indebted to Eisenstein's unfinished "Que viva Mexico." Their style fetishized the Mexican landscape through beautiful, carefully composed, stationary long shots. For two decades Mexican art cinema was identified with the films resulting from the Fernandez-Figueroa collaboration. Their films not only affected Mexican audiences' collective identity, but they affected how their audiences, both domestic and global, viewed Mexico and its history.
The climax of "Maria Candelaria" was an homage to Carlos Navarro's classic "indigenista" film Janitzio (1935). The movie is evocative of the anti-clerical struggles engendered by the Revolution. The secularization of the Mexican state was begun with the 1910 Revolution, continued with the 1917 Constitution, and reached a violent apotheosis in the Cristero Rebellion of 1926-29, when the President tried to crack down on the Roman Catholic church. However, the anti-clericalism of the revolutionaries had to co-exist with the cult of Our Lady of Guadalupe, the symbol that has proved the most powerful and enduring in creating a Mexican national consciousness. Our Lady has served as a symbol for political struggles from the 19th-century wars of independence to the Cristero wars. On one level, "Maria Candelaria" is a paean to the cult of the Virgin Mary, a phenomenon present in much of classical Mexican cinema, which likely is one of the reasons the films Fernandez and Figueroa and others of the 1940s and 1950s proved so popular all over Latin America.
In 1946 Fernandez filmed an adaptation of John Steinbeck's novella "The Pearl," in Spanish- and English-language versions. Shot by Figueroa and starring El Indio's favorite actor, Pedro Armendariz, "La perla" won El Indio a nomination for Golden Lion at the Venice Film Festival, further solidifying his notoriety as a director and publicizing the Mexican movie industry. The film also won him the Golden Ariel for Best Picture at the 1948 Ariel Awards (the Mexican equivalent of the Oscars), and Fernandez, Figueroa, Armendariz and Juan García won Silver Ariels for Best Direction, Cinematography, Actor and Supporting Actor, respectively. Figueroa won a Golden Globe for Best Cinematography in 1949 from the Hollywood Foreign Press Association.
In 1948 Salón México (1949) was released, written and directed by Fernandez with cinematography by Figueroa. An urban melodrama, the film was groundbreaking in that it helped usher in a new genre, the "cabaretera" (cabaret) film, racier and just as commercial as the familiar genre of rancheras, which was then fading in popularity. The movie recreates the atmosphere of the famous Mexico City dance hall and won Marga López an Ariel Award for her role as the taxi dancer Mercedes. The movie featured a sensual soundtrack performed by the Afro-Cuban music group Son Clave de Oro. By the end of the 1940s Emilio Fernandez was the most famous and prestigious director in all of Latin America. He would continue his reign as Mexico's premier director into the mid-'50s, when his powers began to decline and Spanish amigra Luis Buñuel took over the title. As the most famous directors and biggest stars aged or died, Mexican cinema began to decline commercially, and the Golden Age of Mexican cinema came to an end (ironically, Bunuel's Mexican oeuvre strengthened as the national cinema went into decline and L'age d'or went into eclipse).
Although Fernandez and Figueroa last worked together in El puño del amo (1958), which starred El Indio's half-brother Jaime Fernández, the collaboration was essentially over by the mid-'50s when they made La rosa blanca (1954) and La Tierra del Fuego se apaga (1955). Their last great film together was La rebelión de los colgados (1954) (based on B. Traven's "Rebellion of the Hanged," it's English-language title), which starred Pedro Armendariz and Emiolio's half-brother Jaime Fernández, both of whom were nominated for Silver Ariel awards as Best Actor and Best Supporting Actor, respectively. Jaime Fernandez won the Ariel, as did Amanda del Llano for Best Supporting Actress, Gloria Schoemann for editing and José B. Carles for sound. Antonio Díaz Conde was nominated for a Silver Ariel for Best Score. As his collaboration with Fernandez waned, Figueroa's professional relationship with Bunuel waxed. Figueroa first served as director of photography on Bunuel's classic The Young and the Damned (1950), which won 11 Ariels in 1951, including the Golden Ariel as Best Picture in 1951 and awards for Best Cinematography for Figueroa and Best Director and Original Story for Bunuel. Their other films together were Nazarin (1959) ("This Strange Passion"; winner of the International Prize at the 1959 Cannes Film Festival), Fever Mounts at El Pao (1959); The Young One (1960), (which won a Special Mention at the 1960 Cannes Film Festival); The Exterminating Angel (1962), ("The Exterminating Angel"); and Simon of the Desert (1965) ("Simon of the Desert"). Of the Golden Age output, "New York Times" movie critic A.O. Scott said, "There is a frankness in these films that would never have passed muster with the Hays Office." The Golden Age had peaked in the 1940s, bolstered by the economic boom caused by the World War II alliance with the US, government support for the industry via state-funded studios, the maturation of a star system, and the rationalization of distribution and exhibition. Aside from Bunuel's pictures, the post-Golden Age era saw indigenous cinema suffer through the 1960s, as the industry became more dependent on formulaic pictures and such popular genres as the "Santo the Wrestler" series. During the 1960s and 1970s many low-grade horror and action movies were produced with professional wrestler Santo and Hugo Stiglitz being the biggest stars. However, the moribund 1960s led to a revival of government support for the industry in the 1970s, which established the base for a revival of Mexican art cinema in the 1980s and 1990s. El Indio continued directing films until 1979, but when his collaboration with Figueroa ended in 1958, his reputation suffered as the artistry of his pictures declined. He began acting more, though he directed a picture every few years. Gradually, the notoriety of his life began overtaking his reputation as a filmmaker. El Indio lived out the fantasy of perhaps every director when he shot a critic, who had dissed one of his movies, in the testicles. A violent man, he shot and killed a farm laborer, which he claimed was in self-defense. Convicted of manslaughter in 1976, he served six months of a 4-1/2-year sentence. By the 1960s Fernandez's off-screen reputation as a violent man led to his typecasting as brutal villains in many Mexican and American films. As an actor, Fernandez appeared with his brother, singer/actor Fernando Fernández, in John Ford's The Fugitive (1947), on which he also served as associate producer. Other American films he appeared in were John Huston's The Unforgiven (1960) (on which he also served as second unit director) and The Night of the Iguana (1964), the John Wayne pictures The War Wagon (1967) and Chisum (1970) (on which he also served as second unit director), Sidney J. Furie's The Appaloosa (1966) in support of Marlon Brando, and Burt Kennedy's Return of the Seven (1966). After assaying the role of renegade Mexican Gen. Mapache in the classic "The Wild Bunch", Fernandez appeared in two other Peckinpah films, as Paco in Pat Garrett & Billy the Kid (1973) and as El Jefe, who gives the order to Bring Me the Head of Alfredo Garcia (1974). He was reunited with John Huston in Under the Volcano (1984) and appeared in Roman Polanski's Pirates (1986).
El Indio's last two films as a writer-director were México Norte (1979) and Erótica (1979), in which he also starred. In all, El Indio directed 43 pictures from 1942-79. He was the credited screenwriter on 40 pictures, starting with Beautiful Sky (1936) in 1936. He also served as second-unit director, both credited and uncredited, on such American pictures shot in Mexico as The Magnificent Seven (1960), in which he was attached to the American crew by the Mexican government to ensure that the depictions of Mexicans were not racist or demeaning. Fernandez died in Mexico City on 8/6/86.
Government sponsorship of the industry and the creation of state-supported film helped create the phenomenon known as the "Nuevo Cine Mexicano" ("New Mexican Cinema") that catapulted Mexican movies into prominence on the global market in the 1990s. Amores Perros (2000), And Your Mother Too (2001) and The Crime of Padre Amaro (2002) are just three of the most recent Mexican films that have featured prominently in American art cinemas. The spirit of El Indio lives on!
In 2002 "La Perla" was named to the National Film Preservation Board's National Film Registry, which is maintained by the US Library of Congress. Fernandez and his collaborator Gabriel Figueroa were honored on the occasion of the 100th anniversary of El Indio's birth at the inaugural Puerto Vallarta Film Festival of the Americas held in Puerto Vallarta, Mexico, in November 2004.- Actor
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Once told by an interviewer, "Everybody would like to be Cary Grant", Grant is said to have replied, "So would I."
Cary Grant was born Archibald Alec Leach on January 18, 1904 in Horfield, Bristol, England, to Elsie Maria (Kingdon) and Elias James Leach, who worked in a factory. His early years in Bristol would have been an ordinary lower-middle-class childhood, except for one extraordinary event. At age nine, he came home from school one day and was told his mother had gone off to a seaside resort. However, the real truth was that she had been placed in a mental institution, where she would remain for years, and he was never told about it (he would not see his mother again until he was in his late 20s).
He left school at age 14, lying about his age and forging his father's signature on a letter to join Bob Pender's troupe of knockabout comedians. He learned pantomime as well as acrobatics as he toured with the Pender troupe in the English provinces, picked up a Cockney accent in the music halls in London, and then in July 1920, was one of the eight Pender boys selected to go to the United States. Their show on Broadway, "Good Times", ran for 456 performances, giving Grant time to acclimatize. He would stay in America. Mae West wanted Grant for She Done Him Wrong (1933) because she saw his combination of virility, sexuality and the aura and bearing of a gentleman. Grant was young enough to begin the new career of fatherhood when he stopped making movies at age 62.
One biographer said Grant was alienated by the new realism in the film industry. In the 1950s and early 1960s, he had invented a man-of-the-world persona and a style - "high comedy with polished words". In To Catch a Thief (1955), he and Grace Kelly were allowed to improvise some of the dialogue. They knew what the director, Alfred Hitchcock, wanted to do with a scene, they rehearsed it, put in some clever double entendres that got past the censors, and then the scene was filmed. His biggest box-office success was another Hitchcock 1950s film, North by Northwest (1959) made with Eva Marie Saint since Kelly was by that time Princess of Monaco.
Although Grant retired from the screen, he remained active. He accepted a position on the board of directors at Faberge. By all accounts this position was not honorary, as some had assumed. Grant regularly attended meetings and traveled internationally to support them. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother Dyan Cannon, was working. He later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle - Hollywood, California), Western Airlines (acquired by Delta Airlines in 1987) and MGM.
Grant expressed no interest in making a career comeback. He was in good health until almost the end of his life, when he suffered a mild stroke in October 1984. In his last years, he undertook tours of the United States in a one-man-show, "A Conversation with Cary Grant", in which he would show clips from his films and answer audience questions. On November 29, 1986, Cary Grant died at age 82 of a cerebral hemorrhage in Davenport, Iowa.
In 1999, the American Film Institute named Grant the second male star of Golden Age of Hollywood cinema (after Humphrey Bogart). Grant was known for comedic and dramatic roles; his best-known films include Bringing Up Baby (1938), The Philadelphia Story (1940), His Girl Friday (1940), Arsenic and Old Lace (1944), Notorious (1946), An Affair to Remember (1957), North by Northwest (1959) and Charade (1963).- Actress
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Virginia Gregg was born on 6 March 1916 in Harrisburg, Illinois, USA. She was an actress, known for Operation Petticoat (1959), Crime in the Streets (1956) and Police Story (1973). She was married to Jaime Del Valle. She died on 15 September 1986 in Encino, Los Angeles, California, USA.- Murray Hamilton was one of those character actors whose face would be familiar to most movie buffs at an instant, yet his name may not. That's a shame, because Hamilton was one of the most versatile and prolific of performers who was never anything less than completely convincing in any role he took on, from priests to gangsters, soldiers to politicians, ordinary men to aliens. His characters would rarely fail to evoke emotion, whether that be sympathy or dislike. He particularly excelled at hard-edged, street-wise tough guys on either side of the law. His own dictum was to be always "true to the part as it is written".
Born and schooled in Washington, North Carolina, he had originally studied graphic design but had an early yearning for the acting profession. Barely out of his teens, he took a bus to Los Angeles, eventually arriving in Hollywood with just $50 to his name. He gained a foothold at Warner Brothers (his favorite studio) through the back door, as a messenger boy, earning $22 a week. He soon found work as an extra in films, but by 1945, returned to New York making his debut on Broadway as "a mill hand" in 'Strange Fruit', directed by 'Jose Ferrer (I)'.
His breakthrough came three years later, when he appeared with Henry Fonda in the long-running play 'Mister Roberts' (1948-51), first playing the role of a shore patrol officer, later taking over from David Wayne in the key part of Ensign Pulver. Over the years, Murray became quite comfortable with playing more comedic roles on stage and made good impressions as the over-zealous director Dion Kapakos in 'Critic's Choice' (1960-61), and as Otis Clifton in his Tony Award-nominated performance in 'Absence of a Cello' (1964-65), co-starring with Fred Clark and Charles Grodin. Of his enactment as Robert E. Lee Prewitt in the short-lived military drama 'Stockade' (1954), critic Brooks Atkinson remarked: "Modest of manner, pleasant of voice, he has a steel-like spirit that brings Prewitt honestly to life" (New York Times, September 17, 1986).
Murray began in films properly as a credited screen actor from 1951, alternating with guest starring roles on television (by the end of his life he had appeared in more than 100 TV shows). His expressive face and gravelly voice became an adaptable combination for playing surly gangsters (Perry Mason (1957)), authority figures with integrity (James Stewart's ill-fated colleague in The FBI Story (1959)), or without (pompous mayor Larry Vaughn in Jaws (1975)). He was particularly good as Irving Blanchard in the comedy No Time for Sergeants (1958), giving an excellent drunk impersonation; as obtuse barkeeper Al Paquette in Anatomy of a Murder (1959), the key witness to the crime who keeps mum out of misguided loyalty; cocky Kentuckian millionaire Findley who thinks he can take Fast Eddie in The Hustler (1961); and Anne Bancroft's complacent, cuckolded husband, Mr. Robinson, in The Graduate (1967), a role for which Marlon Brando was at one time considered. Of Murray's performance in the iconic 1960s film, Bosley Crowther posited that "Murray Hamilton is piercing ... a seemingly self-indulgent type who is sharply revealed as bewildered and wounded in one fine, funny scene" (New York Times, December 22, 1967).
On the small screen, he was memorable as "Mr. Death" in the 'One for the Angels' episode of Rod Serling's The Twilight Zone (1959), who is seemingly sweet-talked by salesman Lew Bookman (Ed Wynn) to remain on earth just long enough to make his big "pitch to the angels". As Lewis Dunn in the episode 'The Condemned' of The Invaders (1967), he was a very different type of visitor to earth, a sinister alien. In addition to numerous portrayals of harassed or cynical cops, he is also remembered for his recurring TV role, Captain Rutherford T. Grant, in B.J. and the Bear (1978).
Unlike other busy actors, Hamilton was not a part of the established Hollywood set, preferring to spend his life in his native North Carolina, and in Manhattan. He counted George C. Scott, Jason Robards, and Walter Matthau, among his close friends.
When the actor was suffering from the effects of cancer and found film roles harder to come by, Scott helped out by getting him a part in the made-for-television movie The Last Days of Patton (1986).
Murray Hamilton died, aged 63, in September 1986 in his native North Carolina. - Born to George & Frances Simonson Walter, and named Sterling Relyea Walter. Father died in 1925. Adopted by stepfather 'James Hayden' renamed Sterling Walter Hayden. Grew up in New Hampshire, Massachusetts, Pennsylvania, Washington D.C., and Maine. Though very poor, attended prep school at Wassookeag School in Dexter, Maine. Ran away to sea at 17, first as ship's boy, then as doryman on the Grand Banks, as a seaman and fireman on numerous vessels before getting his first command at 19. He sailed around the world a number of times, becoming a well-known and highly respected ship's captain. At urging of friends, met with producer Edward H. Griffith who signs him to a Paramount contract. Fell for his first leading lady, Madeleine Carroll, and married her. Prior to Pearl Harbor, abandoned Hollywood to become a commando with the COI (later the OSS). Joined Marines under pseudonym "John Hamilton" (a name he never acts under), eventually running guns and supplies to Yugoslav partisans through the German blockade of the Adriatic, as well as parachuting into Croatia for guerrilla activities. Won Silver Star and citation from Tito of Yugoslavia. Briefly flirted with Communist Party membership due to friendship with Yugoslav Communists. Returned to film work, which he despised, in order to pay for a succession of sailing vessels. As Red Scare deepens in U.S., he cooperated with the House Un-American Activities Committee, confessing his brief Communist ties. Ever after regretted this action, holding himself in enormous contempt for what he considered "ratting". Offered role of Tarzan as replacement for Lex Barker, but refused. Made headlines defying court order not to sail to Tahiti with his children following divorce decree. Published autobiography "Wanderer" in 1963, and novel "Voyage" in 1976, both to great acclaim. Cast as Quint in Jaws (1975) but unable to play due to tax problems. Died of cancer in 1986.
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Actor Ted Knight paid his dues with nearly two decades of relatively obscure dramatic, often villainous television work, before finding enduring fame in a scene-stealing supporting turn on a classic 1970s sitcom, hilariously overplaying a silver-haired, self-important imbecile. Although the conceited "stuffed shirt" typecast plagued him for the rest of his career, the self-proclaimed "Polish Prince of Comedy" continued on good-naturedly, earning lead status on his own comedy series. The Connecticut-born actor was christened Tadeusz (Theodore) Wladyslaw Konopka, the son of a Polish-American family in his native town of Terryville, Connecticut. A high school dropout, he enlisted for World War II duty and eventually became a decorated member of the A Company, 296th Combat Engineer Battalion.
During his tour of duty, Ted developed an interest in acting, returning home in the post-war years to study his craft in Hartford, Connecticut, at the Randall School of Dramatic Arts. A fascination with puppetry and ventriloquism led to his first steady paycheck, as the host of a children's radio show (WJAR) in Providence, Rhode Island (1950-1955). Following this, Ted found more work (WROW-TV) in Albany, New York, hosting a children's variety show while playing radio announcer for its sister radio station, WROW.
Heading west to Los Angeles, California in 1957, Ted spent most of his early years providing slick commercial voiceovers and earning minor roles on television (Sea Hunt (1958)) and film (Psycho (1960)). He appeared regularly on the short-lived, The New Loretta Young Show (1962), and the daytime soap opera, The Young Marrieds (1964). Other television guest appearances sprouted including dramatic (The Twilight Zone (1959), The Fugitive (1963), Gunsmoke (1955), Highway Patrol (1955), Bonanza (1959), Combat! (1962)) as well as occasional comedic parts (McHale's Navy (1962), Gomer Pyle: USMC (1964), Get Smart (1965)). But nothing monumental pushed his career forward.
Ted's well-modulated voice was his moneymaker during the lean years, whether as an announcer/narrator or cartoon voice character. However, this anonymity ended went he copped the role of inept, pearly-toothed WJM anchorman "Ted Baxter" on The Mary Tyler Moore Show (1970). The arrogant but highly insecure character earned Knight two supporting Emmy trophies (1973, 1976) but severely pigeon-holed him for the rest of his career. However, the genial actor made the best of it and continued on stage ("Some of My Best Friends") and in commercials and TV spots that were similar in persona. In 1975, a musical album entitled "Hi, Guys!" (a catchphrase of the Baxter character) was released, which included a series of bizarre novelty songs.
Knight eventually starred opposite Nancy Dussault in his own television series, Too Close for Comfort (1980), which had a healthy run despite the fact that Knight, as the lead, was more subdued than on the Mary Tyler Moore classic. Renamed "The Ted Knight Show" after it became a syndicated series, the series finally ended in 1986 only due to Knight's terminal illness. The actor's sole post-Ted Baxter movie role was as a judge in the golf-themed comedy, Caddyshack (1980), in which he continually bumped heads with the film's star, Rodney Dangerfield.
Knight was initially diagnosed with cancer in 1977, for which he was treated over an extended period of time. In 1985, the television star's conditioned worsened and the 62-year-old actor died on August 26, 1986, following surgery for a growth in his urinary tract. He was interred in the Forest Lawn Memorial Park in Glendale, California (his marker reads Theodore C. Konopka), and was survived by his wife of 38 years, Dorothy Knight (nee Smith), and their three children, Ted Knight Jr., Elyse Knight and Eric Knight.- Actress
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Elsa Sullivan Lanchester was born into an unconventional a family at the turn of the 20th century. Her parents, James "Shamus" Sullivan and Edith "Biddy" Lanchester, were socialists - very active members of the Social Democratic Federation (SDF) in a rather broad sense - and did not believe in the institution of marriage and being tied to any conventions of legality, for that matter. Her mother had actually been committed to an asylum in 1895 by her father and older brothers because of her unmarried state with James. The incident received worldwide press as the "Lanchester Kidnapping Case."
Elsa had a great desire to become a classical dancer and to that end at age 10 her mother enrolled her at the famed Isadora Duncan's Bellevue School in Paris in 1912. But the uncertainties of WW1 brought her home after only two years. At age 12, she was sent to a co-educational boarding school in Kings Langley, Hertfordshire, England, to teach dance classes in exchange for her education and board. In 1918, she was hired as a dance teacher at Margaret Morris's school on the Isle of Wight.
Next to dance, she loved the music halls of the period, so in 1920 she debuted in a music hall act as an Egyptian dancer. About the same time she founded the Children's Theater in Soho, London and taught there for several years. She made her stage debut in 1922 in the West End play "Thirty Minutes in a Street." In 1924 she and her partner, Harold Scott, opened a London nightclub called the Cave of Harmony. They performed one-act plays by Pirandello and Chekhov and sang cabaret songs. She would later collect and record these and many others. The spot was frequented by literati like Aldous Huxley, H.G. Wells and also James Whale, working in London theater and soon to be directing on Broadway and Hollywood's most famous horror films. Lanchester kept busy including, on her own admission, posing nude for artists. During a 1926 comic performance in the Midnight Follies at London's Metropole, a member of the British Royal family walked out as she sang, "Please Sell No More Drink to My Father." She closed her nightclub in 1928 as her film career began in earnest.
Perhaps not beautiful in the more conventional sense, Lanchester was certainly pretty as a young woman with a turned-up nose that gave her a pert, impish expression, all the more striking with her large, expressive dark eyes and full lips. She had a lithe figure that she carried with the assuredness of her dancing background. Her voice was bright and distinctive, and had a delightful rush and trill that had an almost Scottish burr quality. What clicked on stage would do the same in the movies.
Her first film appearance was actually in an amateur movie by friend and author Evelyn Waugh called The Scarlet Woman: An Ecclesiastical Melodrama (1925). Her formal film debut was in the British movie One of the Best (1927). She continued stage work and became associated in 1927 with a rather self-possessed but keenly dedicated actor, Charles Laughton. He appeared with her in three of four films Lanchester did in 1928. (Three of these were written for her by H.G. Wells). They did a few plays as well and wed in 1929. According to Lanchester, after two years, she discovered Laughton was homosexual but they remained married until his death in 1962. Lanchester declared in a 1958 interview that she kept to a separate career path from her husband. They appeared together on occasion, moving through 1931 with several smart play-like films including Potiphar's Wife (1931) with Laurence Olivier. She had done the play "Payment Deferred" in London in 1930 and followed it to Broadway in 1931.
MGM offered her a contract in 1932. In 1933 Alexander Korda was casting his The Private Life of Henry VIII (1933) and decided that Laughton was the perfect choice - and his wife would be just as perfect as one of Henry's six wives. Her versatility pointed to a part with some comedic elements and fitting more into a caricature. She looked most like Hans Holbein's famous portrait of Anne of Cleves (Henry's fourth wife who was actually somewhat more homely than the painter depicted). In costume Lanchester was charming if not striking. Her interpretation of Anne was a perfect integration with herself, and her scene with Laughton informally playing cards on the marriage bed and deciding on annulment is a high point of the movie.
Of course, it would be hard to mention her film career of the 1930s without mentioning the one role that would forever dog her, Bride of Frankenstein (1935). Having come to Hollywood with Laughton in 1932 (but not permanently until 1939), Lanchester did only a few films up to 1935 and was disappointed enough with Hollywood's reception to return to London for a respite. She was quickly called back by an old friend from London, stage and film associate James Whale, now the noted director of Frankenstein (1931) and The Invisible Man (1933). He wanted her for two parts in Bride: author Mary Shelley and the bride. A central joke of the movie build-up was the tag lines: "WHO will be The Bride of Frankenstein? WHO will dare?"
Indeed, it was no honeymoon for her. For some ten days, Lanchester was wrapped in yards of bandage and covered in heavy makeup. The stand-on-end hairdo was accomplished by combing it over a wire mesh cage. Lanchester was in real agony with her eyes kept taped wide open for long takes - and it showed in her looks of horror. Her monster's screaming and hissing sounds (based on the sounds of Regents Park swans in London) were taped and then run backward to spook-up the effect. She was delightfully melodramatic and picturesque as Wollstonecraft, and her bride would become iconic. Many have considered Bride of Frankenstein (1935) the best of the golden age horror movies.
Lanchester stood out in her next movie with Laughton the next year, Korda's dark Rembrandt (1936), but she only did a few more films for the remainder of the decade. Through the 1940s she was doubly busy - a couple of films per year while regenerating her beloved musical revue sketches. She performed for 10 years at the Turnabout Theater in Hollywood, using old London music hall/cabaret songs and others written for her. Later she would have to split her time further doing a similar act at a supper club called The Bar of Music. By the later 1940s she had become rather matronly, and the roles would settle appropriately. But she always lent her sparkle, as with her charming maid Matilda in The Bishop's Wife (1947). She would be nominated for best supporting actress in Come to the Stable (1949).
She entered the 1950s busy with road touring of her nightclub act with pianist J. Raymond Henderson (who went by "Ray" and who is sometimes confused with popular songwriter Ray Henderson). There was a series of tours to complement Laughton's famous reading tours, called Elsa Lanchester's Private Music Hall which ended in 1952; Elsa Lanchester--Herself which ended in 1961; and once more in 1964 at the Ivar Theater. She was equally busy with a stock of film roles and a large share of TV playhouse theater. She made ten movies with Laughton, the last of which, Witness for the Prosecution (1957) garnered her second supporting actress nomination. But her dizzy Aunt Queenie Holroyd of Bell Book and Candle (1958) is a fond remembrance of that time.
With the two decades from the 1960s to early 1980s, Lanchester was a fixture on episodic TV and an institution in Disney and G-rated fare - perhaps a bit ironic for the unconventional Lanchester. She wrote two autobiographies: "Charles Laughton and I" (1938) and "Elsa Lanchester: Herself" (1983), both recalling her nearly 100 roles before the camera. Lanchester remained humorously reflective in regard to her film career, describing it as "...large parts in lousy pictures and small parts in big pictures." It was the mix of silly, bawdy, and outrageous in her revues that was her great joy: "I was content because I was fully aware that I did not like straight acting but preferred performing direct to an audience. You might call what I do vaudeville. Making a joke, especially impromptu, and getting a big laugh is just plain heaven."- Actress
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The entrancing and exotic-eyed "B"-level leading lady Jody Lawrance, whose 1950s career was spotty at best, provided lovely diversion from the manly adventure movies she helped bring to the screen. Personal turmoil and studio conflicts, however, ultimately hurt her career and the remainder of her life was spent out of the limelight.
She was born Nona Josephine Goddard in Fort Worth, Texas, on October 19, 1930. Her childhood was troubled and disruptive. Parents Ervin S. ("Doc") and Eleanor (née Roeck) Goddard divorced while Jody was a child. Ervin, nicknamed "Doc" although he was not one, was an amateur inventor and research engineer at the Adel Precision Products Company at one point. Moving to California, he eventually married Grace McGee in 1937. Jody subsequently migrated to California and lived with her father and stepmother in their Van Nuys bungalow. Marilyn Monroe (then Norma Jeane Baker) was a foster child of her stepmother Grace, who knew Norma Jeane's mother when both worked for Columbia -- Grace as a film librarian and and Gladys as a film cutter. Jody and Norma Jeane lived together briefly in 1941-1942.
Jody went on to attend Beverly Hills High School (studying under Benno Schneider and his wife) and the Hollywood Professional School. Excelling as a swimmer, Jody's first shot was appearing in a water show operated by Larry Crosby, who was also a publicity manager for famous younger brother Bing Crosby.
The teenager was awarded her first on-camera professional part on the TV show "The Silver Theatre" in 1949. Because her real name, Nona Goddard, lacked glamour, she changed it to Jody (short for Josephine, her middle name) Lawrance (her maternal grandmother's maiden name). Jody's drama teacher Schneider managed to get her an introduction to Columbia. The studio took an immediate interest in the 19-year-old beauty and signed her to a 7-year contract at $250 per week.
Jody made four relatively strong films in 1951. She provided damsel-in-distress duty in her screen debut between up-and-coming screen hero John Derek and established villain Anthony Quinn in the spirited swashbuckler Mask of the Avenger (1951). This was followed by The Family Secret (1951) playing the altruistic fiance to a murder suspect (again, John Derek. Things looked even more promising when she co-starred an exotic love interest to robust Burt Lancaster in the Eastern adventure yarn Ten Tall Men (1951). Her final film that year was a horror opus portraying the fiance to Louis Hayward as the The Son of Dr. Jekyll (1951).
She started the following year off with the adventure film The Brigand (1952) opposite handsome, sliver-eyed Anthony Dexter, better known for his captivating Valentino-like looks than for his acting ability. In 1953 career problems surfaced when the studio assigned Jody, who had now completed six film projects, to a lackluster role in one of its minor musicals, a poor man's version of "On the Town" entitled All Ashore (1953) which starred sailors-on-leave Mickey Rooney, Dick Haymes and Ray McDonald. Peggy Ryan, Barbara Bates and Jody were cast as their the love interests. Set this time on California's Catalina Island instead of New York, Jody balked at the assignment while citing a lack of confidence in her singing and dancing abilities. She ask the studio to replace her but Columbia refused and the actress begrudgingly filmed the movie. Her "difficulty" with the studio on this assignment ultimately led to a break of her contract. Feeling overlooked by the studio at the time, she supposedly did not regret her release too much.
On her own, however, the quality of Jody's films declined markedly with her the "Poverty Row" independent film, the sub-par and highly distorted biographical piece Captain John Smith and Pocahontas (1953) again starring Anthony Dexter. It was revealed that Jody suffered a frightening allergic reaction on the set after dying her lighter hair jet black for the role. Among many other problems, the 23-year old, blue-eyed actress was quite miscast in the role of the much younger Indian maiden. The released film was a dismal failure and Jody's career suffered as a result.
Finding almost no offers in 1954-1955 and in order to make ends meet, Jody took on employment as an ice cream shop waitress near the UCLA campus in Los Angeles. The story goes that one day one of her customers was her former co-star Burt Lancaster. He came to her aid by introducing her to his friend, director Michael Curtiz, who reignited her career with his minor film noir The Scarlet Hour (1956) which starred Tom Tryon and had Jody playing a second femme role behind Carol Ohmart, who was being built up as Paramount's supposed answer to a difficult Marilyn Monroe at the time. Jody was promoted as one of the "Deb Stars of 1955" along with other hopefuls including Cathy Crosby, Anita Ekberg, Mara Corday, Marisa Pavan and Lori Nelson, among other lesser known actors.
Back on the boards again, Jody revived her look on screen as a blonde again. Things looked hopeful when Paramount Studios signed her to a contract, earning $300 a week. In the spiritual drama The Leather Saint (1956), she plays a platinum-blonde nightclub singer (and even sings a bit of "I'm in the Mood for Love" in the film) and temptress to (once again) John Derek whose Episcople minister agonizes over his decision to box for money in order help medically finance church/community projects for special needs children.
Things fell apart once more, however, when Paramount released her the following year. It seems that the studio was perturbed when, while promoting her to the public as a sexy single, Jody resisted the cheesecake angle and also secretly married Bruce Tilton (1930-2007), an airplane parts company executive, in Las Vegas on April 7, 1956 and was pregnant. A daughter, Victoria, was born a year later.
She remained unproductive career-wise during this period of new marriage and more family. By April of 1958, however, the Tilton marriage had dissolved and a bitter custody suit ensued (in the end, Jody lost). While she returned to the screen, the pickings were slim. She landed minor parts in the Shirley Booth vehicle Hot Spell (1958) and Barry Sullivan film The Purple Gang (1959), and found isolated work on TV in such dramatic fare as "Perry Mason," "The Loretta Young Show" and "The Rebel". Her last screen role of any substance was the minor western Stagecoach to Dancers' Rock (1962) starring Martin Landau.
Jody met second husband Robert Wolf Herre and they married in November of 1962. Two children, Robert Jr. and Abigail ("Chrissy") were born from this relationship. Other than an isolated TV appearance on "The Red Skelton Show" in 1968, little was heard of Jody following this period until it was learned that she had died in Ojai, California on July 10, 1986, at age 55.