Cinderella 1950 premiere
Wednesday, February 15th, Boston, MA
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- Actress
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Ilene Woods was born in Portsmouth, New Hampshire, the daughter of a backstage mom who was responsible for Ilene getting her show biz start on the stage at 2. At 14, she received an offer to top-line her own radio show once she became available at the end of that school year during a vacation in New York City. The Ilene Woods Show soon started its run on the Blue Network as a 3-nights-a-week, 15-minute musical series. She then did radio work in Chicago before moving to California, where she landed her first & only on-screen movie role (On Stage Everybody (1945)) as well as a stint on the Jack Carson-starring radio series Sealtest Village Store. Her songwriter-friends Mack David & Jerry Livingston asked her to record 2 of their newest songs, not telling her that they were for the upcoming Disney film Cinderella (1950). When Walt Disney heard her voice on the recordings, he chose her to voice that film's title role.- Actress
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Eleanor Audley was an American actress, with a distinctive voice that helped her find work as a voice actress in radio and animation. She is primarily remembered as the first actress to voice Lady Tremaine and Maleficent, two of the most memorable Disney villains.
Audley's real name was Eleanor Zellman, and she was from New York City. She was Jewish, but little is known about her family background and she apparently never married.
She made her acting debut in 1926, aged 20, at the Broadway production of "Howdy, King". She remained primarily a theatrical actress through the 1920s and the 1930s. During the 1940s, Audley started playing a number of prominent roles in radio serials. Among them was mother-in-law Leticia Cooper in "My Favorite Husband" (1948-51), receptionist Molly Byrd in "The Story of Dr. Kildare" (1949-51), and neighbor, Elizabeth Smith in "Father Knows Best" (1949-54).
Audley was hired by Disney to play the role of wealthy widow Lady Tremaine in the animated feature film "Cinderella" (1950). Audley was also used as the live-action model of the character, and her facial features were used by the animators who designed the character. In the film, Lady Tremaine is depicted as the abusive stepmother of Cinderella (voiced by Ilene Woods) and the domineering mother of Anastasia Tremaine (voiced by Lucille Bliss) and Drizella Tremaine (voiced by Rhoda Williams). The film was a box office hit, and its profits helped rescue the Disney studio from a financial decline that had lasted for almost a decade.
For the rest of the decade, Audley appeared regularly in supporting roles in film, and guest roles in television. She returned to animation when hired to voice the evil fairy Maleficent in "Sleeping Beauty" (1959). As before, Audley was also used as a live-action model for the character. During the film's production, Audley was struggling with tuberculosis, While nominally the villain, Maleficent received more screen-time in the finished film than titular protagonist Princess Aurora (voiced by singer Mary Costa).
"Sleeping Beauty" had box office receipts of more than $51 million in the U.S. and Canada, against a budget of $6 million. It finished the year second in ticket sales, behind the number one film, "Ben-Hur." Audrey was not invited to voice other villains. The film earned critical and popular acclaim through later re-releases, and Maleficent has been revived many times by Disney. But never with her original voice actress.
In the 1960s, Audley played supporting roles in then-popular television series. Among her most prominent roles were Irma Lumpk in "The Many Loves of Dobie Gillis", Peggy Billings in "The Dick Van Dyke Show", Millicent Schuyler-Potts in "The Beverly Hillbillies" , Aunt Martha in "Mister Ed", Jenny Teasley in "Pistols 'n' Petticoats", Eunice Douglas in "Green Acres", and Beatrice Vincent in "My Three Sons".
Audley worked with Disney again to voice psychic medium Madame Leota in the Haunted Mansion attractions in Disneyland and Walt Disney World. Leota is depicted as a ghost who communicates with the living, and other actresses have since voiced the character.
Her long career ended prematurely in the 1970s, due to increasingly poor health. She lived in retirement until her death in 1991, at the age of 86. The cause of death was respiratory failure. Audley was interred at the Mount Sinai Memorial Park Cemetery in Los Angeles. Her character of Madame Leota received its own tombstone in 2001. The epitaph reads: "Dear sweet Leota, beloved by all. In regions beyond now, but having a ball."- Actress
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Verna Felton had extensive experience on the stage and in radio before she broke into film and television. Her trademarks was her distinctive husky voice and her no-nonsense attitude. She was quite in demand for voiceover work, as evidenced by her roles in Cinderella (1950), Alice in Wonderland (1951) and Lady and the Tramp (1955). She appeared in many films, but is best remembered as Hilda Crocker in the TV series December Bride (1954), a character she carried over into its spinoff, Pete and Gladys (1960). Verna died in 1966 at 76 years of age of a stroke.- Actress
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Rhoda Williams was born on 3 July 1930 in Denver, Colorado, USA. She was an actress, known for Cinderella (1950), Space Master X-7 (1958) and High School Hellcats (1958). She was married to David Van Meter. She died on 8 March 2006 in Eugene, Oregon, USA.- Actor
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James MacDonald was born on 19 May 1906 in Crewe, Cheshire, England, UK. He was an actor, known for Cinderella (1950), Alice in Wonderland (1951) and The Black Hole (1979). He was married to Sarah Roberta Cullen. He died on 1 February 1991 in Glendale, California, USA.- Ethnic bald-domed character actor Luis Van Rooten was born November 29, 1906, in Mexico City, but raised in the United States and would become known in post-war Hollywood as a specialist in multiple dialects. Studying at the University of Pennsylvania, he received his B.A. and set up a sturdy practice as an architect before making a dramatic transition into acting sometime during WWII. He built up his reputation initially on stage at the Cleveland Playhouse, then in radio serials, notably playing the titular sleuth in "The Adventures of Nero Wolfe." He also did special French, Italian and Spanish broadcasts during the war
After serving in the Armed Forces, he settled into post-war films, playing outright villains or slick, shady suspects. Interestingly, he bookended his film career impersonating the nefarious Nazi ringleader Heinrich Himmeler (1900-1945), who organized the extermination of millions of Jews during the Third Reich, in the films Hitler's Madman (1943) and Operation Eichmann (1961). In between he backed up the various studio's top stars including Alan Ladd in the rugged adventures Two Years Before the Mast (1946), Beyond Glory (1948) and Saigon (1947); Ray Milland and Charles Laughton in the exceptional film noir The Big Clock (1948);, Edward G. Robinson in Night Has a Thousand Eyes (1948) and Kirk Douglas in "Champion" (1949). One notable exception from the usual villainous typecast was his role as a plainclothes cop in the classic film Detective Story (1951).
By the 1950's Van Rooten had moved with ease into TV drama, performing in a number of live dramas during its vital "Golden Age." His regular work in TV series included One Man's Family (1949) and _"Major Dell Conway of the Flying Tigers" (1951)._ He is remembered by 50s TV fans as the fight manager in "The Joe Palooka Story"(1954-55). His slick, cultivated tones were utilized quite frequently in various documentaries and narrative projects. In later years (the 1960s), Van Rooten was seen less and less. He eventually retired during the decade to become an author and expert on horticultural subjects. He also enjoyed painting as a creative sideline. He died in 1973 at the age of 66 of unreported causes in Massachusetts. - Actor
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In the early days of 1950s science-fiction, one of the first people to become identified with the genre was actor William Phipps. Aside from furnishing the voice of Prince Charming in Disney's cartoon classic Cinderella (1950), Phipps also hid his boyish face beneath a beard as the star of Arch Oboler's end-of-the-world melodrama Five (1951); made a token appearance in Oboler's The Twonky (1953); encountered Martians in both Invaders from Mars (1953) and The War of the Worlds (1953); and took on the Abominable Snowman as one of the leads in The Snow Creature (1954). Most notoriously, he even grappled with Moon maidens set on world conquest in the almost indescribable Cat-Women of the Moon (1953). Phipps was born in Vincennes, Indiana, and grew up in St. Francisville, Illinois; he knew from boyhood that he was destined to be an actor and appeared in several plays in grade school and at Eastern Illinois University. Hitchhiking to Hollywood in 1941, he worked on the stage and later in films, beginning with RKO's Crossfire (1947). Over the next 60 years he amassed a long list of film and TV credits; he also did commercials and voiceover work, including the narration for the special 190-minute TV version of David Lynch's Dune (1984).- Actor
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Mike Douglas was born on 11 August 1920 in Chicago, Illinois, USA. He was an actor, known for Cinderella (1950), The Mike Douglas Show (1961) and Bugsy (1991). He was married to Genevieve Purnell. He died on 11 August 2006 in Palm Beach Gardens, Florida, USA.- Actress
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Marion Darlington was born on 7 November 1910 in Monrovia, California, USA. She was an actress, known for Cinderella (1950), Birds of a Feather (1931) and The Pied Piper (1933). She died on 17 March 1991 in Sedona, Arizona, USA.- Actress
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Legendary voice actress June Foray was born June Lucille Forer on September 18, 1917 in Springfield, Massachusetts, to Maurice Forer and Ida Edith Robinson, who wed in Hampden, Massachusetts. Her father, who was Jewish, emigrated from Novgorod, Imperial Russia, while her Massachusetts-born mother was of Lithuanian Jewish and French-Canadian descent. Her mother converted to Judaism to marry, and took the name Sarah.
At age 12, young June was already doing "old lady" voices. She had the good fortune of having a speech teacher who also had a radio program in the Springfield area. This teacher became her mentor, and added June to the cast of her show. Eventually her family moved to Los Angeles, where she continued in radio. By age fifteen, she was writing her own show for children, "Lady Makebelieve", in which she also provided voices. June dabbled in both on-camera acting and voice work, but was particularly talented in voice characterizations, dialects and accents. Just like Daws Butler, one of her later co-stars, she was a "voice magician" and worked steadily in radio from the 1930s into the 1950s.
June branched out from radio and began providing voices for cartoon characters. In the 1940s, she provided the voices for a live-action series of shorts, "Speaking of Animals", in which she dubbed in voices for real on-screen animals, a task she was to repeat many years later in an episode of The Magical World of Disney (1954). In the late 1940s June, Stan Freberg, Daws Butler, Pinto Colvig and many others recorded hundreds of children's and adult albums for Capitol Records. Her female characterizations on these records ran the entire gamut from little girls to middle-aged women, old ladies, dowagers and witches. No one seemed to be able to do these same voices with the warmth, energy and sparkle that June did.
In the 1950s June's star in animation not only began to rise but soared when Walt Disney sought her out and hired her to do the voice of Lucifer the cat in Cinderella (1950). The Disney organization continued to use June many times over, well into the 21st century. Warner Brothers also hired her to replace Bea Benaderet and do all of its "Looney Tunes" and "Merrie Melodies" cartoons. June has done many incidental characters for Warners, but her most famous voice has been that of Granny (in the "Tweety and Sylvester" series). Unfortunately, since Mel Blanc's contract called for exclusive voice credit on these cartoons, June never received credit for all the voices she did. During this time she also appeared on [error].
In 1957, Jay Ward met with June to discuss her voicing the characters of "Rocky the Flying Squirrel" and "Natasha Fatale" in a cartoon series. On November 19, 1959, the show debuted as The Bullwinkle Show (1959), later changing its name to The Bullwinkle Show (1959). June provided many other voices for this show, especially its "side shows" such as "Fractured Fairy Tales" and "Aesop and Son". She did fewer voices for the "Peabody's Improbable History" segment, but she did appear in at least three of those episodes. After the show had been successful for a few years, Ward added one of its most popular segments, "Dudley Do-Right of the Mounties". June was a regular in this side show as Dudley's girlfriend Nell Fenwick.
Since Ward used June exclusively for nearly all his female voices, he showcased her talents as no other producer had before. June missed out on doing voices for three of the show's "Fractured Fairy Tales" because she could not reschedule some bookings to do recording work with Stan Freberg, so Julie Bennett filled in for her on those occasions. Dorothy Scott--co-producer Bill Scott's wife--also filled in for June a few times for "Peabody's Improbable History". Her collaboration with Ward made her incredibly famous, and "Rocky the Flying Squirrel" became her signature voice. To this day June regularly wears a necklace with the figure of Rocky sculpted by her niece Lauren Marems.
Ward later produced two other cartoon series, Hoppity Hooper (1964) and George of the Jungle (1967). June's appearances on "Hoppity Hooper" were limited to the segments of "Fractured Fairy Tales", "Dudley Do-Right" and "Peabody" that aired during its run. On "Fractured Fairy Tales" June did a whole montage of voices similar to those from her Capitol Records days. Her witch voices were so incredibly funny and magnificently done that Disney and Warner Brothers tapped her to provide that same voice for the character of Witch Hazel. She was once again the lone female voice artist, this time on "George of the Jungle". Included on that show were the "Super Chicken" and "Tom Slick" side shows.
In the 1960s, June lost out to Bea Benaderet when she auditioned for the voice of "Betty Rubble" on The Flintstones (1960). June appeared numerous times during the decade in holiday specials such as Frosty the Snowman (1969) and The Little Drummer Boy (1968)). In the 1960s and 1970s, June dubbed in voices for full-length live-action feature films many times. Jay Ward and Bill Scott also had her dub in dialogue for silent movies in their non-animated series Fractured Flickers (1963).
In the early 1970s, June tried her hand at puppetry. She became the voice of an elephant, an aardvark and a giraffe on Curiosity Shop (1971). Around this time she also recorded various voices for the road shows of "Disney on Parade", which toured the US and Europe for several years.
She acted on-camera occasionally over the years, primarily on talk shows, game shows and documentaries; in the early years of The Tonight Show Starring Johnny Carson (1962), she performed a 13-week stint as a little Mexican girl. However, June had said that she prefers to record behind the scenes because she jokingly said "She can earn more money in less time."
June Foray died on July 26, 2017, in Los Angeles, California, U.S. She was ninety nine years old.- Betty Lou Gerson was born on 20 April 1914 in Chattanooga, Tennessee, USA. She was an actress, known for One Hundred and One Dalmatians (1961), Cinderella (1950) and Cats Don't Dance (1997). She was married to Louis Rocco Lauria and Joe Ainley. She died on 12 January 1999 in Los Angeles, California, USA.
- Clint McCauley is known for Cinderella (1950).
- June Sullivan is known for Cinderella (1950).
- Animation Department
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Helen Seibert is known for Cinderella (1950) and A Disney Christmas Gift (1983).- Producer
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Walter Elias Disney was born on December 5, 1901 in Chicago, Illinois, the son of Flora Disney (née Call) and Elias Disney, a Canadian-born farmer and businessperson. He had Irish, German, and English ancestry. Walt moved with his parents to Kansas City at age seven, where he spent the majority of his childhood. At age 16, during World War I, he faked his age to join the American Red Cross. He soon returned home, where he won a scholarship to the Kansas City Art Institute. There, he met a fellow animator, Ub Iwerks. The two soon set up their own company. In the early 1920s, they made a series of animated shorts for the Newman theater chain, entitled "Newman's Laugh-O-Grams". Their company soon went bankrupt, however.
The two then went to Hollywood in 1923. They started work on a new series, about a live-action little girl who journeys to a world of animated characters. Entitled the "Alice Comedies", they were distributed by M.J. Winkler (Margaret). Walt was backed up financially only by Winkler and his older brother Roy O. Disney, who remained his business partner for the rest of his life. Hundreds of "Alice Comedies" were produced between 1923 and 1927, before they lost popularity.
Walt then started work on a series around a new animated character, Oswald the Lucky Rabbit. This series was successful, but in 1928, Walt discovered that M.J. Winkler and her husband, Charles Mintz, had stolen the rights to the character away from him. They had also stolen all his animators, except for Ub Iwerks. While taking the train home, Walt started doodling on a piece of paper. The result of these doodles was a mouse named Mickey. With only Walt and Ub to animate, and Walt's wife Lillian Disney (Lilly) and Roy's wife Edna Disney to ink in the animation cells, three Mickey Mouse cartoons were quickly produced. The first two didn't sell, so Walt added synchronized sound to the last one, Steamboat Willie (1928), and it was immediately picked up. With Walt as the voice of Mickey, it premiered to great success. Many more cartoons followed. Walt was now in the big time, but he didn't stop creating new ideas.
In 1929, he created the 'Silly Symphonies', a cartoon series that didn't have a continuous character. They were another success. One of them, Flowers and Trees (1932), was the first cartoon to be produced in color and the first cartoon to win an Oscar; another, Three Little Pigs (1933), was so popular it was often billed above the feature films it accompanied. The Silly Symphonies stopped coming out in 1939, but Mickey and friends, (including Minnie Mouse, Donald Duck, Goofy, Pluto, and plenty more), were still going strong and still very popular.
In 1934, Walt started work on another new idea: a cartoon that ran the length of a feature film. Everyone in Hollywood was calling it "Disney's Folly", but Snow White and the Seven Dwarfs (1937) was anything but, winning critical raves, the adoration of the public, and one big and seven little special Oscars for Walt. Now Walt listed animated features among his ever-growing list of accomplishments. While continuing to produce cartoon shorts, he also started producing more of the animated features. Pinocchio (1940), Dumbo (1941), and Bambi (1942) were all successes; not even a flop like Fantasia (1940) and a studio animators' strike in 1941 could stop Disney now.
In the mid 1940s, he began producing "packaged features", essentially a group of shorts put together to run feature length, but by 1950 he was back with animated features that stuck to one story, with Cinderella (1950), Alice in Wonderland (1951), and Peter Pan (1953). In 1950, he also started producing live-action films, with Treasure Island (1950). These began taking on greater importance throughout the 50s and 60s, but Walt continued to produce animated features, including Lady and the Tramp (1955), Sleeping Beauty (1959), and One Hundred and One Dalmatians (1961).
In 1955 he opened a theme park in southern California: Disneyland. It was a place where children and their parents could take rides, just explore, and meet the familiar animated characters, all in a clean, safe environment. It was another great success. Walt also became one of the first producers of films to venture into television, with his series The Magical World of Disney (1954) which he began in 1954 to promote his theme park. He also produced The Mickey Mouse Club (1955) and Zorro (1957). To top it all off, Walt came out with the lavish musical fantasy Mary Poppins (1964), which mixed live-action with animation. It is considered by many to be his magnum opus. Even after that, Walt continued to forge onward, with plans to build a new theme park and an experimental prototype city in Florida.
He did not live to see the culmination of those plans, however; in 1966, he developed lung cancer brought on by his lifelong chain-smoking. He died of a heart attack following cancer surgery on December 15, 1966 at age 65. But not even his death, it seemed, could stop him. Roy carried on plans to build the Florida theme park, and it premiered in 1971 under the name Walt Disney World. His company continues to flourish, still producing animated and live-action films and overseeing the still-growing empire started by one man: Walt Disney, who will never be forgotten.- Composer
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Oliver Wallace was born on 6 August 1887 in London, England, UK. He was a composer and actor, known for Dumbo (1941), Alice in Wonderland (1951) and Cinderella (1950). He was married to Claire Burch Wallace. He died on 15 September 1963 in Los Angeles, California, USA.- Composer
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Paul J. Smith was the son of Joseph J. and Anna M. Smith of Caldwell, Idaho. Joseph J. Smith was the band director at the College of Idaho for many years and was penned by Idaho's former governor Robert Smylie as "The Father of Music" in the Boise Valley, as he taught all musical instruments.
My grandfathers talent and teaching skills was obviously passed on to his four son's, as all but one of them became well know and sought after composers and musicians in Los Angeles both before and after WWII. Paul J. Smith had one older brother, Jerome Smith, who although a talented woodwind player, became an electrical engineer in the 30's and worked for RCA as a lead engineer for his entire career. Paul J. Smith also had two younger brothers, Arthur Smith, a woodwind player and studio musician who was under contract with Universal Studios for many years before studio contracts were eliminated in the early 60's, after which he continued to work in all major studios (including Disney), and continued to be very active in the music business for many years to come. Paul J. Smith's youngest brother was George W. Smith, who was also a woodwind player, and was employed for many years as 1st chair clarinet for Columbia Studios, once again, until musicians contracts were cancelled in the 60's, at which point he continued to work in both the major studios (including Disney), as well as recording sessions with major vocal talents and jazz artists of the day. During the later years of his career, George performed with the Disneyland Band in Anaheim, being featured in the Dixieland Band and the Polka Band on clarinet and the Main Street Saxophone Quartet on Alto.
Overall, and impressive an unique accomplishment for the three musical talents from Caldwell Idaho.- Animation Department
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Ben Sharpsteen was born on 4 November 1895 in Tacoma, Washington, USA. He was a director and producer, known for Dumbo (1941), Pinocchio (1940) and Snow White and the Seven Dwarfs (1937). He died on 20 December 1980 in Santa Rosa, California, USA.- Director
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Wilfred Jackson was born on 24 January 1906 in Chicago, Illinois, USA. He was a director, known for Cinderella (1950), Snow White and the Seven Dwarfs (1937) and Alice in Wonderland (1951). He died on 7 August 1988 in Balboa Island, Newport Beach, California, USA.- Director
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Hamilton Luske was an American animator and film director from Chicago, who spend most of his career at the Walt Disney Animation Studios. He served as the supervising director of several of Disney's films. He was also the supervising animator for the character of Snow White in the feature film "Snow White and the Seven Dwarfs" (1937), tasked with making the character more believably human and realistic than any previous Disney character.
Luske graduated from the University of California- Berkley, where he majored in business. He started his working life as a newspaper cartoonist in Oakland. Luske was hired by Walt Disney Animation in 1931, and received most of his training as an animator there. His early work included several of the studio's short films, both in the anthology series "Silly Symphonies" (1929-1939) and the long-running character-driven series "Mickey Mouse" (1929-1953). His first major assignment was serving as the supervising animator of Snow White in "Snow White and the Seven Dwarfs" (1937). He was rewarded for his success by becoming a supervising director in subsequent films.
Luske served as a supervising director in the feature film "Pinocchio" (1940), which he co-directed with Ben Sharpsteen. He co-directed "The Pastoral Symphony" segment of the anthology film "Fantasia" (1940), which focused on characters from Greco-Roman mythology. Luske served as the supervising director of the animated segments of the feature film "The Reluctant Dragon" (1941), while the live-action segments were directed by Alfred Werker.
Luske subsequently co-directed "Saludos Amigos" (1942), "Make Mine Music" (1946), "Fun and Fancy Free" (1947), "Melody Time" (1948), "So Dear to My Heart" (1948), "Cinderella" (1950), "Alice in Wonderland" (1951), "Peter Pan" (1953), "Lady and the Tramp" (1955), and "One Hundred and One Dalmatians" (1961). He directed an animated sequence in the live-action musical film "Mary Poppins" (1964), and won an Academy Award for Best Visual Effects for his efforts.
Luske's last significant assignment was directing the animated short film "Scrooge McDuck and Money" (1967), marking the first animated appearance of Scrooge. Scrooge McDuck had been a recurring character in Disney comics since 1947, but had received no adaptations in film until Luske's short film.
Luske died in 1968, in Bel Air, California, at the age of 64. At the time, Disney's other veteran animators had started leaving or retiring, marking an end of an era for the studio. Luske was posthumously named a Disney Legend in 1999. Luske's son Tommy Luske worked as a voice actor in the 1950s.- Director
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Clyde Geronimi was born on 12 June 1901 in Chiavenna, Lombardy, Italy. He was a director, known for Cinderella (1950), Alice in Wonderland (1951) and Peter Pan (1953). He died on 24 April 1989 in Newport Beach, California, USA.- Writer
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Bill Peet was born on 29 January 1915 in Grandview, Indiana, USA. He was a writer, known for Cinderella (1950), Sleeping Beauty (1959) and Dumbo (1941). He was married to Margaret Brunst. He died on 11 May 2002 in Studio City, California, USA.- Writer
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As his writing partner, Winston Hibler, once put it, "Perhaps Ted's greatest talent was his own unique brand of humor. It was warm, gentle humor; there was never a barb in it. And his was the key, to Ted's whole personality. He was the kindest man I ever knew. He lived with laughter and without malice. He was generous in all things. His talents could be had for the asking. No job was too small, none too big. And this all adds up to the fact that through his talents and his personal virtues. Ted was able to achieve two of the goals he set for himself in life: he made good pictures and he made good friends." Ted Sears was a man of multiple talents. Born in 1900, he spent most of his childhood in New York. As a teenager he attended a trade school in Manhattan where he learned a variety of lettering techniques - since he planned on becoming a sign painter. Even though art and drawing were his first loves, his most lasting interests, early on he convinced himself he would never be an exceptional artist, and he also knew he had to help support his parents and four sisters. However, trying out various jobs was not a problem; he was good at almost everything, and so he lettered title cards for silent movies, worked with trick photography, drew ads- and even made props for early two-reel comedies, joining silent comic
In 1931, Walt Disney hired Ted on a long term contract not as an animator but as a senior writer, (the Disney company's first) and in the twenty-seven years that followed no one ever challenged his position. He had found a niche that suited him, surrounded by the most talented and colorful personalities in animation, writing dialogue and story lines for virtually every important production the Disney Studio made: "Snow White," "Pinocchio," "Bambi," "Dumbo," "Fantasia," "Saludos Amigos," "Cinderella," "Alice in Wonderland," "Peter Pan" (for which he wrote song lyrics), "Lady and the Tramp," and "Sleeping beauty." As part of the Disney's company's original story department he is one of the men attributed in the creation of storyboarding now an industry standard for not just animated film but also live action. He also co-wrote narration for many of the Disney nature films with Winston Hibler, and later did a number of the Disney TV shows. He had writing credits on perhaps a dozen Oscar and Emmy winning productions.
To amuse himself, Ted still drew for his friends and made props for the plays his daughter appeared in - he also produced his family's Christmas cards which employed his old love for trick photography an special effects - these holiday cards took months to prepare and were awaited with great anticipation by over three hundred recipients. (he lettered the envelopes individually, turning each name into calligraphy.)
When Ted died in the summer of 1958, he left his mark on the Disney films, their quality in part springing from his belief in what he did, his many gifts, and the satisfaction that came from working with the finest talents in the animation business.- Writer
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Songwriter ("A Boy Is a Curious Thing"), auhor, director, producer and actor, educated at the American Academy of Dramatic Arts. Between 1928 and 1938 he was a Broadway stage actor and appeared in several films, and from 1938 to 1942 he was a writer for radio, films and stage productions, and later television. Joining ASCAP in 1954, his chief musical collaborators included William Lava, Walter Schumann, Paul Smith, Gill George, Ted Sears, Ralph Wright, and Oliver Wallace. His other popular-song compositions include "I'll Remember", "I Wonder", "Following the Leader", "Stingaree", "Now to Sleep", "Together Time", "Break of Day", and "We'll Smoke the Blighter Out".- Writer
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Erdman Penner was born on 17 January 1905 in Rosthern, Saskatchewan, Canada. He was a writer and director, known for Sleeping Beauty (1959), Cinderella (1950) and Lady and the Tramp (1955). He died on 10 November 1956 in Los Angeles, California, USA.- Writer
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Joe Rinaldi was born on 1 August 1914 in San Francisco, California, USA. He was a writer, known for Cinderella (1950), Lady and the Tramp (1955) and Sleeping Beauty (1959). He died on 25 November 1974 in Los Angeles, California, USA.- Writer
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Harry Reeves was born in 1906. He was a writer, known for Cinderella (1950), Fun and Fancy Free (1947) and The Adventures of Ichabod and Mr. Toad (1949). He died in 1971.- Writer
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Homer Brightman was born on 1 October 1901. He was a writer and director, known for Cinderella (1950), The Magical World of Disney (1954) and Fun and Fancy Free (1947). He died on 30 January 1988 in Kirkland, Washington, USA.- Animation Department
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Ken Anderson was born on 17 March 1909 in Seattle, Washington, USA. He was a writer, known for Cinderella (1950), Robin Hood (1973) and The Aristocats (1970). He was married to Polly Anderson. He died on 13 December 1993 in La Cañada Flintridge, California, USA.- Animation Department
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Oliver Martin "Ollie" Johnston was an American animator from Palo Alto, California. He was one of Disney's Nine Old Men, a group of senior animators which supervised production at the Walt Disney Animation Studios from c. 1945 to 1977. By the time of his death in 2008, Johnston was the last surviving member of the group. Johnston co-wrote the reference book "Disney Animation: The Illusion of Life" (1981), where he explained the twelve basic principles of animation. He helped to both preserve and popularize the knowledge of the techniques that were developed at the Disney studio over several decades.
In 1912, Johnston was born in Palo Alto, California. His father was Oliver Johnston, a professor at Stanford University. The younger Johnston attended Palo Alto High School. He received his college education at Stanford University, where he worked on the campus humor magazine "Stanford Chaparral". He befriended a co-worker at the magazine, the aspiring animator Frank Thomas (1912-2004). The two remained close friends until Thomas' death in the early 2000s.
In his senior year at college, Johnston transferred to the Chouinard Art Institute (1921-1970), a professional art school located in Los Angeles. Johnston was hired by the Walt Disney Animation Studios c. 1934. He served as an uncredited inbetweener in several Mickey Mouse short films, and as an assistant animator in the animated feature film "Snow White and the Seven Dwarfs" (1937).
After being promoted to a regular animator, Johnston's first major assignment was to animate the sentient puppet Pinocchio in the feature film "Pinocchio" (1940). Johnston animated the Centaurettes (female centaurs) and the Cupids in the "Pastoral Symphony" segment of "Fantasia" (1940).Johnston animated the key scene of the death of Bambi's mother in "Bambi" (1942). He animated "The Flying Gauchito" segment of "The Three Caballeros" (1944). He animated both the "Peter and the Wolf" and the "Casey at the Bat" segments of "Make Mine Music" (1946). Johnston animated Br'er Rabbit, Br'er Fox, and Br'er Bear in "Song of the South" (1946). He animated Jiminy Cricket in "Fun and Fancy Free" (1947). He animated both Johnny Appleseed and his guardian angel in "Melody Time" (1948).
Johnston served as a directing animator in "The Adventures of Ichabod and Mr. Toad" (1949). He also animated most of the film's major characters, including J.Thaddeus Toad, Ichabod Crane, Katrina Von Tassel, and Brom Bones. Johnston again served as a directing animator in "Cinderella" (1950). He was also the supervising animator for Cinderella's bratty stepsisters, Drizella Tremaine and Anastasia Tremaine. Johnston was tasked with animating Alice and the King of Hearts in "Alice in Wonderland" (1951). He animated the inept pirate Mr. Smee in "Peter Pan" (1953), with the character depicted as Captain Hook's first mate and personal assistant. Johnston animated the sentient dogs Lady, Jock and Trusty in "Lady and the Tramp". Johnston animated the heroic fairies Flora, Fauna, and Merryweather in "Sleeping Beauty" (1959).
Jonston served as the directing animator for the sentient dog Perdita "One Hundred and One Dalmatians" (1961). He animated the wizard Merlin, his student Wart/Arthur, and the wizard's familiar Archimedes in "The Sword in the Stone" (1963). Johnston animated the penguins in "Mary Poppins" (1964). He served as the directing animator for Mowgli, Bagheera, Baloo, and Mowgli's unnamed love interest in "The Jungle Book" (1967).
Johnston served as the directing animator for most of the major characters in "The Aristocats" (1970), including Duchess, Thomas O' Malley, and the kittens Marie, Berlioz, and Toulouse. He also served as a directing animating for most of the major characters in "Robin Hood" (1973), including Prince John, Sir Hiss, Maid Marian, and Lady Cluck. Johnston animated Winnie the Pooh and Piglet in "The Many Adventures of Winnie the Pooh" (1977). Johnston served as the directing animator for the co-protagonists Bernard and Bianca, and for the orphan girl Penny in "The Rescuers" (1977).
Johnston served as the supervising animator for the younger versions of the co-protagonists Tod and Copper in "The Fox and the Hound" (1981). This was his last involvement in the production of a Disney feature film. Following his retirement from Disney, Johnston started writing non-fiction about animation and its techniques. He served on the advisory board of the National Student Film Institute during the 1980s and the 1990s. In November 2005, Johnston received the prestigious National Medal of Arts by the then President of the United States George Walker Bush (1946-, term 2001-2009).
In April 2008, Johnston died of natural causes. He was 95-years-old at the time of his death, and he had survived many of his colleagues at Disney. Theodore Thomas featured biographical information on Johnston in the documentary films "Frank and Ollie"(1995) and "Growing up with Nine Old Men" (2012). Johnston is still fondly recalled by fans of traditional animation.- Animation Department
- Writer
- Actor
Frank Thomas was born on 5 September 1912 in Santa Monica, California, USA. He was a writer and actor, known for The Iron Giant (1999), The Incredibles (2004) and The Aristocats (1970). He was married to Jeanette A. Thomas. He died on 8 September 2004 in La Cañada Flintridge, California, USA.- Animation Department
- Director
- Producer
Wolfgang Reitherman was a German-born American animator who was one of Disney's Nine Old Men.
He began working for Disney in 1933, along with future Disney legends Ward Kimball and Milt Kahl. The three worked together on a number of classic Disney shorts.
Reitherman directed several Disney animated feature films including: One Hundred and One Dalmatians (1961), The Sword in the Stone (1963), The Jungle Book (1967), The Aristocats (1970), Robin Hood (1973), The Many Adventures of Winnie The Pooh (1977), and The Rescuers (1977).
He died in a car accident in 1985 at the age of 75. In 1989 Reitherman was posthumously named a Disney Legend, a hall of fame program that recognizes individuals who have made an extraordinary and integral contribution to The Walt Disney Company.- Animation Department
- Director
- Additional Crew
Eric Cleon Larson was born on September 3, 1905 in Cleveland, Utah, to Peter and Nora Larson. In 1915 his family moved to Salt Lake City, where he became interested in journalism and also secretly took drawing lessons. In 1925, he entered the University of Utah, later moving to Los Angeles to look for a job in journalism and writing, unfortunately unsuccessfully. He then decided to rekindle his ambition to become an artist, and was offered a job at Walt Disney Productions in 1933, as an `in-betweener'. Later the same year, he married Gertrude Jannes (although sadly, the couple remained childless).
Animator Hamilton Luske recognized Larson's talent and promoted him to assistant animator; Luske, who had joined the studio two years previously, later became his mentor. Further promotion followed, with Eric as animator on Walt Disney's first feature length cartoon, Snow White and the Seven Dwarfs (1937); along with future veteran animators Milt Kahl and James Algar, he animated the forest animals that followed Snow White throughout. In 1940, he was promoted to animation director for Pinocchio (1940), and in that film he created the kitten, Figaro, who became one of his favorite characters. In Fantasia (1940), he created the centaurs and the horses in the "Pastoral Symphony" segment of the musical feature.
By 1942, he had become a supervising animator for Bambi (1942) along with fellow workers Ollie Johnston, Frank Thomas, and Milt Kahl, with whom he had worked on Snow White. In Bambi, he created Friend Owl, and subsequently worked on birds for the next two assignments, creating the mad Aracuan Bird in The Three Caballeros (1944), and Sasha the Bird in Make Mine Music (1946). Larson also worked on Fun and Fancy Free, Song of the South, Melody Time, and _So Dear to My Heart (1949)_. He later became part of the Animation Board, and Walt Disney appointed him as one of his Nine Old Men, who consisted of Les Clark, Woolie Reitherman, Eric Larson, Ward Kimball, Milt Kahl, Frank Thomas, Ollie Johnston, John Lounsbery and Marc Davis; all considered to be Walt's most trusted associates.
On Cinderella (1950), Eric assisted fellow directing animator Marc Davis animate Cinderella herself. He was directing animator on Alice in Wonderland (1951) and Peter Pan (1953), animating the caterpillar in the former and the flight to Neverland in the latter, and also working on Peg, the canine in Lady and the Tramp (1955). For Sleeping Beauty (1959), Larson was promoted to Sequence Director with Les Clark and Woolie Reitherman, and for the classic One Hundred and One Dalmatians (1961), he became a Directing Animator, helping to create some of the puppies. Sadly, for the next three features, The Sword in the Stone (1963), Mary Poppins (1964) and _Jungle Book, The (1967)_, he was demoted to Character Animator; The Jungle Book (1967), was the final film made by Walt, who died later that same year.
After Walt's death, it became evident that the veteran animators were either dying or retiring swiftly, and Eric was placed in charge of finding and training new talent in addition to his character animating work. He trained many successful members of today's animation world, including Andreas Deja, Glen Keane, John Pomeroy, Gary Goldman, Betsy Baytos, and others. He worked as an animator on _Aristocats, The (1970)_ and on Bedknobs and Broomsticks (1971), moving on to animate Robin Hood (1973) and The Many Adventures of Winnie the Pooh (1977). In 1977, for the feature The Rescuers, Eric assisted veteran story men Mel Shaw and Burny Mattinson with the opening sequence titles.
By 1981, almost all of the Nine Old Men were gone; Les Clark and John Lounsbery were dead, and Milt Kahl, Ward Kimball, Ollie Johnston, Frank Thomas and Woolie Reitherman had retired. Eric was the only one remaining, although no longer a working animator. A new generation of artists came into being for The Fox and the Hound (1981), although Larson remained as an animation consultant for The Black Cauldron (1985), and The Great Mouse Detective (1986). Eric retired in September 1986; sadly his wife, Gertrude, had died of cancer in 1975. He retired to his home in La Canada Flintridge, near Glendale in Los Angeles, and died October 25, 1988. In 1989 he was posthumously awarded the Disney Recognition of Honor by Roy Disney, Walt's nephew.- Animation Department
- Director
- Writer
Ward Kimball joined Disney Studios in 1934 as an animator. He eventually became involved in all aspects of animation production, most notably as the designer of Jiminy Cricket for the film "Pinocchio." He was also responsible for the redesign of Mickey Mouse. Walt Disney recognized Kimball's achievements by making him one of the "Nine Old Men", Disney's semi-official group of advisors. Kimball retired from Disney in 1972, but still maintained ties with the studio. He joined other leading Disney animators in 1978 for a whistle-stop tour to promote Mickey Mouse's 50th birthday. In addition to animation, Kimball was both an avid musician and train enthusiast. In 1948 he formed the Firehouse Five Plus Two, a Dixieland jazz band composed of fellow Disney employees. He also maintained a full-sized train and tracks at his home in California, and was a past president of the Train Collectors Association. Not only did his love of trains get him the job of designing the World of Motion display at EPCOT, it also got another train collector started--Walt Disney himself. Kimball received many honors during his lifetime, and in 1989 was named a Disney Legend.- Animation Department
- Art Department
- Actor
Milt Kahl was a veteran animator from San Francisco. He became one of "Disney's Nine Old Men", a board of supervising animators who headed the production staff of the Walt Disney Animation Studios from c. 1945 to 1977.
In 1909, Kahl was born in San Francisco. His parents were the saloon bartender Erwin Kahl and his wife Grace. Kahl was one of several young animators hired by the Disney studio in the mid-1930s. He worked on the animated feature film "Snow White and the Seven Dwarfs" (1937), animating various forest animals. He is also thought to have worked in scenes involving the film's unnamed prince.
Kahl was noticed by the studio's executives while working in the subsequent film "Pinocchio" (1940). Kahl insisted that the eponymous sentient puppet should primarily look as a "cute little boy", and not as a real puppet. Kahl was allowed to design the film's version of Pinocchio, as a boy with a Tyrolean hat and Mickey Mouse-type gloves on his hands. Walt Disney embraced Kahl's vision and urged the writers to evolve Pinocchio into a more innocent figure that would match Kahl's design. In the film itself, Kahl animated several scenes involving Pinocchio himself, Jiminy Cricket, and Gepetto.
Kahl served as a supervising animator in "Bambi" (1942), working on scenes involving Bambi and Thumper. In "Saludos Amigos", Kahl animated a sequence which depicted Donald Duck riding a llama. Kahl was one of the animators in two segments of "Make Mine Music" (1946): "The Martins and the Coys" and "All the Cats Join In". Kahl directed the Tar Baby sequence in "Song of the South" (1946), a film adaptation of the short story "Tar-Baby" (1881) which featured a doll made of tar and turpentine. Kahl worked on the Bongo segment of the anthology film "Fun and Fancy Free" (1947). He was responsible for animating both the female lead Lulubelle and the villain Lumpjaw.
Kahl was one of the directing animators in the anthology film "Melody Time" (1948). He was responsible for the scenes depicting Johnny Appleseed, Johnny's guardian angel, Pecos Bill, Widowmaker (Pecos' horse), and Slue Foot Sue (Pecos' love interest). Kahl worked as a directing animator in both segments of the anthology film "The Adventures of Ichabod and Mr. Toad" (1949). He worked on animating characters from both "The Wind in the Willows" (1908) by Kenneth Grahame and "The Legend of Sleepy Hollow" (1820) by Washington Irving.
In "Cinderella" (1950), Kahl animated scenes involving the Fairy Godmother, the Prince Charming, the King, and the Grand Duke. In "Alice in Wonderland" (1951), Kahl was responsible for scenes involving Alice herself, the White Rabbit, and the Dodo. In "Peter Pan" (1953), Kahl animated scenes involving Peter Pan, Wendy Darling, John Darling, Michael Darling, Mr. Darling, Mrs. Darling, and their dog Nana. In "Lady and the Trump" (1955), Kahl worked on scenes involving Lady, the Tramp, and the supporting character Trusty.
In "Sleeping Beauty" (1959), Kahl animated the co-protagonist Prince Philip, and the supporting characters King Hubert and King Stefan. In "One Hundred and One Dalmatians" (1961), Kahl worked on scenes involving the main characters Roger, Anita, Pongo, and Perdita. Kahl worked as both a directing animator and a character designer for the Arthurian film "The Sword in the Stone" (1963). Among several other characters, in this film, Kahl worked on scenes involving the witch Madame Mim.
In "The Jungle Book" (1967), Kahl worked on scenes involving most of the film's main characters, including Mowgli, Baloo, Bagheera, Shere Khan, King Louie, and, Kaa. In "The Aristocats" (1970), Kahl worked on scenes involving Thomas O'Malley, Duchess, Madame Bonfamille, and Edgar. In "Bedknobs and Broomsticks" (1971), Kahl animated King Leonidas. In "Robin Hood" *(1973), Kahl worked on nearly every major character in the cast, including Robin Hood himself and Maid Marian.
In "The Rescuers" (1977), Kahl worked primarily on scenes involving the villain Madame Medusa and the orphan girl Penny. It was the last time Kahl was credited as a directing animator. Kahl went into semi-retirement in the late 1970s, though he is thought to have done uncredited work as a character designer in the early 1980s. Kahl was brought out of retirement during the production phase of "The Black Cauldron" (1985). The Disney studio wanted him to provide new character designs for Taran, Eilonwy, and Fflewddur Fflam.
In April 1987, Kahl died due to pneumonia. He was 78-years-old at the time of his death, and he had survived several of the other members of the Nine Old Men. In 2009, the centenary of his birth was celebrated with a tribute entitled "Milt Kahl: The Animation Michelangelo".- Animation Department
- Director
- Art Department
John Lounsbery was an American animator and animation director from Cincinnati, Ohio. He eventually became one of "Disney's Nine Old Men", a group of senior animators who were in charge of the Walt Disney Animation Studios from c. 1945 to 1977. Lounsbery died in 1976, with his death leading to the dissolution of the group. He was the first of the Nine to die, and also had the shortest lifespan among them.
Lounsbery was born in Ohio, but spend much of his childhood in Colorado. He attended the East Denver High School, then received art lessons at the Art Institute of Denver. He continued his art education in Los Angeles, taking lessons at the ArtCenter College of Design. The College was a private art school established in 1930, and initially only trained visual artists and designers. The curriculum later expanded to include lessons in photography and technical illustrations.
One of Lounsbery's college instructors arranged a job interview for him, as a prospective animator for the Disney studios. Lounsbery was hired in early July 1935. He was put to work as an uncredited assistant animator for the animated feature film "Snow White and the Seven Dwarfs" (1937).
Lounsbery quickly became one of Disney's "star animators", because he was considered unusually skilled as a draftsman. His first major assignment was animating two of the villains in "Pinocchio" (1940), the conman duo of J. Worthington Foulfellow and Gideon. He served as one of the main animators in a ballet-themed segment of "Fantasia" (1940), the "Dance of the Hours". He was tasked with animating one of the main dancers of the segment, Ben Ali Gator.
Lounsbery made his debut as a directing animator in the feature film "Song of the South" (1946), an adaptation of the "Uncle Remus" stories of Joel Chandler Harris. His subsequent credits as a directing animator included the feature films "Fun and Fancy Free" (1947)., "Melody Time" (1948), "The Adventures of Ichabod and Mr. Toad" (1949), "Cinderella"" (1950), "Alice in Wonderland" (1951), "Peter Pan" (1953), "Lady and the Tramp" (1955), "Sleeping Beauty" (1959), "One Hundred and One Dalmatians" (1961), "The Sword in the Stone" (1963), "The Jungle Book" (1967), "The Aristocats" (1970), and "Robin Hood" (1973). He was often tasked with animating key supporting characters of these films. His most memorable work as an animator included animating the allied kings Huber and Stefan in "Sleeping Beauty", the villainous tiger Shere Khah in "The Jungle Book", and the heroic fox Robin Hood in "Robin Hood".
Lounsbery co-directed the anthology feature film "The Many Adventures of Winnie the Pooh" (1977), which was released a year following his death. It was his debut as a director. In the film, he was also the main animator for the depressed donkey Eeyore. At the time of his death in 1976, Lounsbery was working in the upcoming feature film "The Rescuers" (1977). He was one of the three credited directors of the film, though he did live not long enough to complete it.
On February 13, 1976, Lounsbery suffered a sudden heart attack while working. He died shortly after, at the age of 64. He died about a month before his 65th birthday. At the time, most of the other "Nine Old Men" were considering retirement and a new generation of animators were in training. Lounsbery was buried at the Forest Lawn, Hollywood Hills Cemetery in Los Angeles.
Lounsbery was posthumously awarded with a "Winsor McCay Award" in 1986. and was named a "Disney Legend" in 1989. His work is still highly regarded by fans of classic animation, though he is possibly the least famous among "Disney's Nine Old Men". Relatively little is known about Lounsbery's personal life.- Animation Department
- Writer
- Actor
Marc Davis was an American animator from Bakersfield, California. He was a member of Disney's Nine Old Men, a group of senior animators who supervised the Walt Disney Animation Studios from c. 1945 to 1977. Davis was nicknamed as "Disney's Ladies' Man", because he was often asked to design and/or animate the primary female characters in Disney's feature films. His most significant characters were Snow White in "Snow White and the Seven Dwarfs" (1937), Bambi, Faline, and Flower in "Bambi" (1942), Brer Rabbit, Brer Fox, and Brer Bear in "Song of the South" (1946), Bongo in "Fun and Fancy Free" (1947), Mr. Toad and the villainous weasels in "The Adventures of Ichabod and Mr. Toad" (1949), Cinderella in "Cinderella" (1950), Alice in "Alice in Wonderland" (1951), Tinker Bell and Mrs. Darling in "Peter Pan" (1953), Aurora, Maleficent, and Diablo the Raven in "Sleeping Beauty" (1959), and Cruella De Vil and Anita in "One Hundred and One Dalmatians" (1961).
Davis took up drawing as a hobby during his childhood. He noted that his drawings increased his popularity with other kids, and that even the bullies stopped bothering him. Deciding to become a professional artist, Davis received training at the Kansas City Art Institute, the California School of Fine Arts in San Francisco, and the Otis Art Institute in Los Angeles. He habitually sketched zoo animals for practice, and studied animal anatomy to improve the accuracy of his depictions.
In 1935, Davis was one of several young animators hired by Disney during the production phase of the studio's first animated feature film, "Snow White and the Seven Dwarfs" (1937). He soon demonstrated a talent for developing "three-dimensional characters and storytelling", which set him apart from other animators. Which is why he was assigned to draw "difficult-to-draw" human characters, rather than caricatures. He always aimed "to put personality into the characters", in order to make them appealing to the film's audience. He typically used reference images for his characters, and at times emulated the gestures and expressions of the characters' voice actors. One of his most challenging assignments was animating the silent character of Tinker Bell. He had to express the character's sass and personality through pantomime and facial expression alone.
In 1956, Davis married the costume designer Alice Estes (1929-2022). They had previously been working together in developing suitable clothing for the character of Aurora, and their professional relationship preceded their romantic relationship. Soon after their wedding, Disney introduced her to the studio head Walt Disney. Walt eventually hired Alice to design costumes for Disney's live-action productions.
In the early 1960s, Davis left Disney's animation studio. He transferred to WED Enterprises (later renamed to Walt Disney Imagineering), the subsidiary company responsible for the creation, design, and construction of Disney theme parks and attractions. Davis helped in the design and creation of several attractions, including "The Jungle Cruise" (1955), "Mine Train Through Nature's Wonderland" (1960), "The Enchanted Tiki Room" (1963), "Ford's Magic Skyway" (1964), "Great Moments with Mr. Lincoln" (1964), "The Carousel of Progress" (1964), "It's a Small World" (1964), "Pirates of the Caribbean" (1967), "The Haunted Mansion" (1969), "The Country Bear Jamboree" (1971), and "America Sings" (1974).
Davis worked in the early 1970s in developing an attraction called "Western River Expedition", which would serve as a historical recreation of the Western expansion of the United States. This attraction was never built, but elements of Davis' designs were later used in developing the attractions called "Tom Sawyer Island", "Big Thunder Mountain Railroad", "Splash Mountain", "Thunder Mesa", "Phantom Manor", and "Expedition Everest".
Davis retired in 1978, at the age of 65. In 1982, Davis won a Winsor McCay Award for his contributions to animation. In 1985, Davis won the Golden Award of the organization Motion Picture Screen Cartoonists. In 1989, he was inducted to the hall of fame Disney Legends. In 1993, Davis received an award by the Disneyana Fan Club. Davis died in January 2000, at the age of 86. Shortly following his death, the Marc Fraser Davis Scholarship Fund was formally established at the California Institute of the Arts.
Davis' career and artwork were the subject of the biographical book "Marc Davis: Walt Disney's Renaissance Man" (2014) by Disney Editions. The book was followed by the sequel "Marc Davis in His Own Words: Imagineering the Disney Parks" (2020), which focused on his theme park designs. Though long gone, Davis remains popular among fans of traditional animation.- Actor
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Bobby Driscoll was a natural-born actor. Discovered by chance at the age of five-and-a-half in a barber shop in Altadena, CA. and then convincing in anything he ever undertook on the movie screen and on television throughout his career spanning 17 years (1943-1960). Includes such notable movie screen appearances as The Fighting Sullivans (1944), Song of the South (1946), So Dear to My Heart (1948), and The Window (1949), which was not only the sleeper of 1949 but even earned him his Academy Award in March 1950 as the outstanding juvenile actor of 1949. For his role as Jim Hawkins in Walt Disney's Treasure Island (1950), he eventually received his Hollywood Star on 1560 Vine Street, and in 1954 he was chosen in a nation-wide poll for a Milky Way Gold Star Award (for his work on TV and radio). But all the more tragic, then, was his fruitless struggle to find a place in a pitiless adolescent world after severe acne had stalled his acting career at 16. When his face was no longer charming and his voice not smooth enough to be used for voice-over jobs, his last big movie hit was the voice of animated Peter Pan (1953), for which he was also the live-action model. When his contract with the Disney studios was prematurely terminated shortly after the release of Peter Pan (1953) in late March 1953, his mother additionally took him from the talent-supporting Hollywood Professional School, which he attended by then. On his new School, the public Westwood University High School, on which he graduated in 1955, all of a sudden his former stardom became more burden than advantage. He successfully continued acting on TV until 1957 and even managed to get two final screen roles; in The Scarlet Coat (1955) and opposite of Mark Damon and Connie Stevens in The Party Crashers (1958). His life became more and more a roller coaster ride that included several encounters with the law and his eventual sentencing as a drug addict in October 1961. Released in early 1962, rehabilitated and eager to make a comeback, Bobby was ignored by the very industry that once had raised and nurtured him, because of his record as a convict and former drug addict. First famous... now infamous. Hoping to revive his career on the stage after his parole had expired in 1964, he eventually traveled to New York, only to learn that his reputation had preceded him, and no one wanted to hire him there, either. After a final appearance in Piero Heliczer's Underground short Dirt (1965) in 1965 and a short art-period at Andy Warhol's so-called Factory, he disappeared into the underground, thoroughly dispirited, funds depleted. On March 30, 1968, two playing children found his dead body in an abandoned East Village tenement. Believed to be an unclaimed and homeless person, he was buried in an unmarked pauper's grave on Hart Island, where he remains.- Actor
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American actor who achieved some success as a child and as a young adult, especially in B-Westerns and in television. The son of a Texas newspaper editor. Jones was a accomplished horseman from infancy. At the age of four he was billed as the World's Youngest Trick Rider and Roper. At the age of six, he was hired to perform riding and lariat tricks in the rodeo owned by western star Hoot Gibson. Gibson convinced young Jones and his parents that there was a place for him in Hollywood, and the boy and his mother went west. Gibson arranged for some small parts for the boy. His good looks, energy, and pleasant voice quickly landed him more and bigger parts. In both low-budget Westerns and in more substantial productions. In 1940 he had one of his most prominent roles, as the voice of Pinocchio (1940) in Walt Disney's animated film of the same name. Jones attended Hollywood High School and at 15, took over the role of Henry Aldrich on the hit radio show "The Aldrich Family." He learned carpentry and augmented his income with jobs in that field. He served in the Army in Alaska during the final months of World War II. Gene Autry, who had cast Jones in several Westerns before the war, now put him back to work in films. And later in television, on programs produced by Autry's company. Now billed as Dick Jones the handsome young man starred as Dick West. Where he was sidekick to the Western hero known as The Range Rider (1951), in a TV series that ran for 76 episodes in 1951 (and for decades in syndication). Then Autry gave Jones his own series Buffalo Bill, Jr. (1955)', which ran for 40 episodes. Jones continued working in films throughout the 50's and into the 60's. In 1966 he retired and entered the business world.- Actress
- Additional Crew
- Soundtrack
Kathryn Beaumont was just ten years old when she was chosen for the voice of Alice, in Disney's animated version of the classic children's tale, Alice in Wonderland (1951). Walt Disney was so impressed with Kathryn's long curly blonde hair, sparkling eyes and acting ability, that he chose her as the model for Alice.- Actor
- Additional Crew
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Actor, raconteur, art collector and connoisseur of haute cuisine are just some of the attributes associated with Vincent Price. He was born Vincent Leonard Price, Jr. in St. Louis, Missouri, to Marguerite Cobb "Daisy" (Wilcox) and Vincent Leonard Price, who was President of the National Candy Company. His grandfather, also named Vincent, invented Dr. Price's Baking Powder, which was tartar-based. His family was prosperous, as he said, "not rich enough to evoke envy but successful enough to demand respect." His uniquely cultivated voice and persona were the result of a well-rounded education which began when his family dispatched him on a tour of Europe's cultural centres. His secondary education eventually culminated in a B.A. in English from Yale University and a degree in art history from London's Courtauld Institute.
Famously, his name has long been a byword for Gothic horror on screen. However, Vincent Price was, first and foremost, a man of the stage. It is where he began his career and where it ended. He faced the footlights for the first time at the Gate Theatre in London. At the age of 23, he played Prince Albert in the premiere of Arthur Schnitzler 's 'Victoria Regina' and made such an impression on producer Gilbert Miller that he launched the play on Broadway that same year (legendary actress Helen Hayes played the title role). In early 1938, he was invited to join Orson Welles 's Mercury Theatre on a five-play contract, beginning with 'The Shoemaker's Holiday'. He gave what was described as "a polished performance". Thus established, Vincent continued to make sporadic forays to the Great White Way, including as the Duke of Buckingham in Shakespeare's 'Richard III' (in which a reviewer for the New Yorker found him to be "satisfactorily detestable") and as Oscar Wilde in his award-winning one man show 'Diversions and Delights', which he took on a hugely successful world-wide tour in 1978. While based in California, Vincent was instrumental in the success of the La Jolla Playhouse in San Diego, starring in several of their bigger productions, including 'Billy Budd' and 'The Winslow Boy'. In 1952, Vincent joined the national touring company of 'Don Juan in Hell' in which he was cast as the devil. Acting under the direction of Charles Laughton and accompanied by noted thespians Charles Boyer, Cedric Hardwicke and Agnes Moorehead, he later recalled this as one of his "greatest theatrical excitements".
As well as acting on stage, Vincent regularly performed on radio network programs, including Lux Radio Theatre, CBS Playhouse and shows for the BBC. He narrated or hosted assorted programs ranging from history (If these Walls Could Speak) to cuisine (Cooking Price-Wise). He wrote several best-selling books on his favourite subjects: art collecting and cookery. In 1962, he was approached by Sears Roebuck to act as a buying consultant "selling quality pictures to department store customers". As if that were not enough, he lectured for 15 years on art, poetry and even the history of villainy. He recorded numerous readings of poems by Edgar Allan Poe (nobody ever gave a better recital of "The Raven"!), Shelley and Whitman. He also served on the Arts Council of UCLA, was a member of the Fine Arts Committee for the White House, a former chairman of the Indian Arts & Crafts Board and on the board of trustees of the Los Angeles County Museum of Art.
And besides all of that, Vincent Price remained a much sought-after motion picture actor. He made his first appearance on screen as a romantic lead in Service de Luxe (1938), a frothy Universal comedy which came and went without much fanfare. After that, he reprized his stage role as Master Hammon in an early television production of 'The Shoemaker's Holiday'. For one reason or another, Vincent was henceforth typecast as either historical figures (Sir Walter Raleigh, Duke of Clarence, Mormon leader Joseph Smith, King Charles II, Cardinal Richelieu, Omar Khayyam) or ineffectual charmers and gigolos. Under contract to 20th Century Fox (1940-46), Laura (1944) provided one of his better vehicles in the latter department, as did the lush Technicolor melodrama Leave Her to Heaven (1945) which had Vincent showcased in a notably powerful scene as a prosecuting attorney. His performance was singled out by the L.A. Times as meriting "attention as contending for Academy supporting honors".
His first fling with the horror genre was Dragonwyck (1946), a Gothic melodrama set in the Hudson Valley in the early 1800's. For the first time, Vincent played a part he actually coveted and fought hard to win. His character was in effect a precursor of those he would later make his own while working for Roger Corman and American-International. As demented, drug-addicted landowner Nicholas Van Ryn, he so effectively terrorized Gene Tierney's Miranda Wells that the influential columnist Louella Parsons wrote with rare praise: "The role of Van Ryn calls for a lot of acting and Vincent admits he's a ham and loves to act all over the place, but the fact that he has restrained himself and doesn't over-emote is a tribute to his ability". If Vincent was an occasional ham, he proved it with his Harry Lime pastiche Carwood in The Bribe (1949). Much better was his starring role in a minor western, The Baron of Arizona (1950), in which he was convincingly cast as a larcenous land office clerk attempting to create his own desert baronetcy.
With House of Wax (1953) , Vincent fine-tuned the character type he had established in Dragonwyck, adding both pathos and comic elements to the role of the maniacal sculptor Henry Jarrod. It was arduous work under heavy make-up which simulated hideous facial scarring and required three hours to apply and three hours to remove. He later commented that it "took his face months to heal because it was raw from peeling off wax each night". However, the picture proved a sound money maker for Warner Brothers and firmly established Vincent Price in a cult genre from which he was henceforth unable to escape. The majority of his subsequent films were decidedly low-budget affairs in which the star tended to be the sole mitigating factor: The Mad Magician (1954), The Fly (1958) (and its sequel), House on Haunted Hill (1959), the absurd The Tingler (1959) (easily the worst of the bunch) and The Bat (1959). With few exceptions, Vincent's acting range would rarely be stretched in the years to come.
Vincent's association with the genial Roger Corman began when he received a script for The Fall of the House of Usher, beginning a projected cycle of cost-effective films based on short stories by Edgar Allen Poe. As Roderick Usher, Vincent was Corman's "first and only choice". Though he was to receive a salary of $50,000 for the picture, it was his chance "to express the psychology of Poe's characters" and to "imbue the movie versions with the spirit of Poe" that clinched the deal for Vincent. He made another six films in this vein, all of them box office winners. Not Academy Award stuff, but nonetheless hugely enjoyable camp entertainment and popular with all but highbrow audiences. Who could forget Vincent at his scenery chewing best as the resurgent inquisitor, luring Barbara Steele into the crypt in The Pit and the Pendulum (1961)? Or as pompous wine aficionado Fortunato Luchresi in that deliriously funny wine tasting competition with Montresor Herringbone (Peter Lorre) in Tales of Terror (1962)? Best still, the climactic battle of the magicians pitting Vincent's Erasmus Craven against Boris Karloff's malevolent Dr. Scarabus in The Raven (1963) (arguably, the best offering in the Poe cycle). The Comedy of Terrors (1963) was played strictly for laughs, with the inimitable combo of Price and Lorre this time appearing as homicidal undertakers.
For the rest of the 60s, Vincent was content to remain in his niche, playing variations on the same theme in City in the Sea (1965) and Witchfinder General (1968) (as Matthew Hopkins). He also spoofed his screen personae as Dr. Goldfoot and as perennial villain Egghead in the Batman (1966) series. He rose once more to the occasion in the cult black comedy The Abominable Dr. Phibes (1971) (and its sequel Dr. Phibes Rises Again (1972)) commenting that he had to play Anton Phibes "very seriously so that it would come out funny". The tagline, a parody of the ad for Love Story (1970), announced "love means never having to say you're ugly".
During the 70s and 80s, Vincent restricted himself mainly to voice-overs and TV guest appearances. His final role of note was as the inventor in Edward Scissorhands (1990), a role written specifically for him. The embodiment of gleeful, suave screen villainy, Vincent Price died in Los Angeles in October 1993 at the age of 82. People magazine eulogized him as "the Gable of Gothic." Much earlier, an English critic named Gilbert Adair spoke for many fans when he said "Every man his Price - and mine is Vincent."- Actor
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Popular American character actor of amusing appearance and voice whose long career led from dozens of highly enjoyable onscreen performances to world-wide familiarity as the voice of numerous Walt Disney animated films. Born in the American Deep South to grocer Sterling P. Holloway Sr. and Rebecca Boothby Holloway, he had a younger brother, Boothby. Holloway spent his early years as an actor playing comic juveniles on the stage. His bushy reddish-blond hair and trademark near-falsetto voice made him a natural for sound pictures, and he acted in scores of talkies, although he had made his picture debut in silents. His physical image and voice relegated him almost exclusively to comic roles, but in 1945, director Lewis Milestone cast him more or less against type in the classic war film A Walk in the Sun (1945), where Holloway's portrayal of a reluctant soldier was quite notable. He played frequently on television, becoming familiar to baby-boomers in a recurring role as Uncle Oscar on Adventures of Superman (1952), and later in television series of his own. His later work as the voice of numerous characters in Disney cartoons brought him new audiences and many fans, especially for his voicing of beloved Winnie the Pooh. He died in 1992.- Actor
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Hans Conried was born in Baltimore and raised both there and in New York City. He studied acting at Columbia University, and played many major classical roles onstage. After having been a member of Orson Welles' Mercury Theatre Company, he was heard as Prof. Kropotkin on the radio show "My Friend Irma" and had various roles on the "Edgar Bergen - Charlie McCarthy Show". He was in the original cast of Cole Porter's 1953 Broadway hit "Can-Can" and stayed with the show for more than a year. Known for his sharp wit, Conried was in demand as an actor, panelist and narrator, appearing frequently in television series and movies throughout the 1960s and 1970s.- Actor
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James Byron Dean was born February 8, 1931 in Marion, Indiana, to Mildred Marie (Wilson) and Winton A. Dean, a farmer turned dental technician. His mother died when Dean was nine, and he was subsequently raised on a farm by his aunt and uncle in Fairmount, Indiana. After grade school, he moved to New York to pursue his dream of acting. He received rave reviews for his work as the blackmailing Arab boy in the New York production of Gide's "The Immoralist", good enough to earn him a trip to Hollywood. His early film efforts were strictly small roles: a sailor in the Dean Martin and Jerry Lewis overly frantic musical comedy Sailor Beware (1952); a GI in Samuel Fuller's moody study of a platoon in the Korean War, Fixed Bayonets! (1951) and a youth in the Piper Laurie-Rock Hudson comedy Has Anybody Seen My Gal (1952).
He had major roles in only three movies. In the Elia Kazan production of John Steinbeck's East of Eden (1955) he played Cal Trask, the bad brother who could not force affection from his stiff-necked father. His true starring role, the one which fixed his image forever in American culture, was that of the brooding red-jacketed teenager Jim Stark in Nicholas Ray's Rebel Without a Cause (1955). George Stevens' filming of Edna Ferber's Giant (1956), in which he played the non-conforming cowhand Jett Rink who strikes it rich when he discovers oil, was just coming to a close when Dean, driving his Porsche Spyder race car, collided with another car while on the road near Cholame, California on September 30, 1955. He had received a speeding ticket just two hours before. At age 24, James Dean was killed almost immediately from the impact from a broken neck. His very brief career, violent death and highly publicized funeral transformed him into a cult object of apparently timeless fascination.- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.- Actress
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Considered by many to be one of the greatest American actresses of all time, Geraldine Page was a master craftswoman who seemed to bring out the most inner detail of the character she was playing. Her dedication to her craft has earned her the respect of many of today's great actors including Meryl Streep and Michelle Pfeiffer.
Geraldine Sue Page was born on November 22, 1924 in Kirksville, Missouri to Dr. Leon Elwin Page, an osteopathic physician and Pearl Maize Page, a homemaker. She had an older brother named Donald. The family moved to Chicago when Page was five years old. Growing up, her interests and hobbies always were directed toward the arts. She tried writing and painting while younger, but that proved to be too frustrating. She wanted to be a concert pianist, but her family couldn't afford all that training. While she was still a preteen, she joined the drama club at her church and soon found her passion. She began reading all kinds of plays as well as reading about actors. She was fascinated with the careers of actresses like Lucille La Verne, Maude Adams, and Eva Le Gallienne.
Upon graduation from high school in 1942, she entered the Goodman Theater School, where she performed in just about everything in which students could perform, as well as earning money working for a children's theater group. When she completed the three-year program in 1945, she and several other students organized a summer stock theater in Lake Zurich, Illinois. After the summer season, she headed for New York City. Unfortunately, by Christmas she was working three part-time jobs just to get by and not finding any work as an actress. She returned to Chicago that winter and accepted a position as a part-time instructor in the theater department at DePaul University for the spring semester. After another summer at Lake Zurich, Miss Page headed for New York again, this time joining a stock company in Woodstock, New York. She spent the next two summers in Lake Zurich, and the rest of the time performing in Woodstock playing everything from young girls to grandmothers.
In 1948, she made her New York City debut with an Off-Broadway production of "Seven Mirrors." She spent the next four years performing with Off-Broadway groups and summer stock in New Jersey. She also performed character parts on radio shows. In 1952, she had the lead in an Off-Broadway revival of Tennessee Williams' "Summer and Smoke." That production caused a sensation, not only with critics but with a growing audience marking the first big hit Off-Broadway. Page won the Drama Critics Award, becoming the first person from a non-Broadway production to receive such an award.
Page put off a number of film offers and instead played leading roles on radio and television, and made her Broadway debut in January 1953 in Vina Delmar's play "Mid-Summer." Although the play was dismissed by most critics, she was hailed by critics for her portrayal of an uneducated woman married to a schoolteacher.
In the fall of 1953, she made her film debut opposite John Wayne in the western Hondo (1953). Although she received an Academy Award nomination as Best Supporting Actress, she wasn't offered any good parts in Hollywood and returned to New York.
During the 1950s, Page's theater career flourished. She played a variety of roles on Broadway including a vindictive wife of a homosexual in "The Immoralist," to a lonely spinster in "The Rainmaker." She also made frequent radio and television appearances and honed her craft at the Actors Studio. It was in the fall of 1959 that Page starred opposite Paul Newman in Tennessee Williams's "Sweet Bird of Youth." Her role as a pathetic fading movie star earned universal praise, her first Tony Award nomination, and interest again from Hollywood. It was also when she met and married one of her co-stars, actor Rip Torn.
In 1961 she starred in the film version of Summer and Smoke (1961) and in 1962 in Sweet Bird of Youth (1962). She earned consecutive Golden Globe awards as well as Academy Award nominations for these two performances.
From now on, Page divided her time between the stage and the screen. Her selectivity was high, whatever the medium. She turned down many famous roles, including the role of Martha in the original Broadway production of "Who's Afraid of Virginia Woolf" and the role of Chris MacNeil in the film "The Exorcist." She was first and foremost a character actress who believed in repertory. She tended to accept parts that were very different from the one she had just played and often liked to rotate between leading roles and supporting roles.
Despite the fact that she was such a highly respected stage actress, very few of her Broadway productions after "Sweet Bird of Youth" were hits, and often closed after just a few performances. The few productions that were hits included revivals of "Strange Interlude" and "The Three Sisters." Most of her better stage work through the rest of her life came in productions Off-Broadway, or in regional theaters across the country. She liked touring the United States and performing theater in states and cities often neglected by Broadway touring companies. In the 1960s, some of her notable film work included "The Happiest Millionaire," "What Ever Happened to Aunt Alice" and "You're a Big Boy Now." She earned a Best Supporting Actress nomination for the latter. She also won two Emmy Awards for television work.
In the 1970s one of her few hits on Broadway was as a banker's alcoholic wife in "Absurd Person Singular." This role netted her a second Tony Award nomination. One of her bigger triumphs on the stage was the Sanctuary Theater Company which she and her husband Rip Torn founded off-Broadway. Although it only lasted a couple of years, it gave young actors a chance to work, and many of the productions were given rave reviews by critics. Some of her more memorable film roles in the 1970s included a nosy matchmaker in Pete 'n' Tillie (1972) (Oscar nomination as Best Supporting Actress), a controversial religious leader in The Day of the Locust (1975), the voice of the villain Madame Medusa in The Rescuers (1977) and the suicidal mother in Interiors (1978) (Oscar nomination as Best Actress).
In the 1980s, she began teaching acting at the Pelican Theater School. In 1982 she had another triumph on Broadway as Mother Superior in "Agnes of God," a role which earned her a third Tony Award nomination. In 1983 she co-founded the Mirror Repertory Company, an Off-Broadway theater group dedicated to preserving the art of repertory theater. She performed and directed in a variety of productions with the group. She continued to work in films despite her hectic theater schedule. One of her film roles in 1984 was a scene stealing bit part as a chain-smoking mother of a murdered cop in The Pope of Greenwich Village (1984). She received an Oscar nomination as Best Supporting Actress. With that she became the first woman to receive seven Oscar nominations for acting without a single win. In 1985, she starred in the independent film The Trip to Bountiful (1985). Based on Horton Foote's play, it tells the story of a 60-year-old woman who yearns to run away from her cramped city apartment that she shares with her son and daughter-in-law, to see the old country town where she grew up. Page's performance was hailed by critics and she began to rack up a number of award nominations. She was nominated for a Best Actress Oscar, making it her eighth try for the golden boy. Although Meryl Streep looked like a sure bet for Out of Africa (1985), many critics predicted Page would emerge as the dark horse winner. When F. Murray Abraham opened the envelope on Oscar night he announced "Ah! I consider this woman the greatest actress in the English language. The winner is Geraldine Page in 'The Trip to Bountiful!'" As Page scrambled to find her shoes which she had kicked under her seat, Meryl Streep led the long standing ovation for her.
In the 1980s she received a number of other honors. She received several lifetime achievement awards from various theater groups. In 1983, she was inducted into the Theater Hall of Fame. The only thing that seemed to be missing was a Tony Award. In the spring of 1987, Page took a break from the Mirror Theater, to return to Broadway in a revival of "Blithe Spirit." For her leading performance as the wacky medium, she was nominated for her fourth Tony Award. Many critics predicted her to be the sentimental favorite for the award. She did not win. Six days after the Tony Awards ceremony, she died of a heart attack, leaving behind her husband and their three children. She was 62 years old. A memorial service was held at a Broadway theater and numerous actors and celebrities paid their respects including Meryl Streep, Jessica Tandy, and Paul Newman among others. Ronald and Nancy Reagan had flowers sent from the White House to the memorial service.
Page dedicated her life to her craft and is regarded as one of the most important actresses of the 20th century. She appeared in 28 films, 16 Broadway plays, memorable television plays and radio plays, and innumerable repertory, stock, regional and Off-Broadway performances. As People magazine noted: "Geraldine Page wasn't resting on her laurels at the time of her death; she was on a role. After a performance, she asked, 'I wasn't overdone, was I?' Then she added with a smile, 'Wasn't I exquisite?' As ever, she was."- Actress
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Greta Garbo was born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, to Anna Lovisa (Johansdotter), who worked at a jam factory, and Karl Alfred Gustafsson, a laborer. She was fourteen when her father died, which left the family destitute. Greta was forced to leave school and go to work in a department store. The store used her as a model in its newspaper ads. She had no film aspirations until she appeared in short advertising film at that same department store while she was still a teenager. Erik A. Petschler, a comedy director, saw the film and gave her a small part in his Luffar-Petter (1922). Encouraged by her own performance, she applied for and won a scholarship to a Swedish drama school. While there she appeared in at least one film, En lyckoriddare (1921). Both were small parts, but it was a start. Finally famed Swedish director Mauritz Stiller pulled her from the drama school for the lead role in The Saga of Gösta Berling (1924). At 18 Greta was on a roll.
Following The Joyless Street (1925) both Greta and Stiller were offered contracts with MGM, and her first film for the studio was the American-made Torrent (1926), a silent film in which she didn't have to speak a word of English. After a few more films, including The Temptress (1926), Love (1927) and A Woman of Affairs (1928), Greta starred in Anna Christie (1930) (her first "talkie"), which not only gave her a powerful screen presence but also garnered her an Academy Award nomination as Best Actress (she didn't win). Later that year she filmed Romance (1930), which was somewhat of a letdown, but she bounced back in 1931, landing another lead role in Mata Hari (1931), which turned out to be a major hit.
Greta continued to give intense performances in whatever was handed her. The next year she was cast in what turned out to be yet another hit, Grand Hotel (1932). However, it was in MGM's Anna Karenina (1935) that she gave what some consider the performance of her life. She was absolutely breathtaking in the role as a woman torn between two lovers and her son. Shortly afterwards, she starred in the historical drama Queen Christina (1933) playing the title character to great acclaim. She earned an Oscar nomination for her role in the romantic drama Camille (1936), again playing the title character. Her career suffered a setback the following year in Conquest (1937), which was a box office disaster. She later made a comeback when she starred in Ninotchka (1939), which showcased her comedic side. It wasn't until two years later she made what was to be her last film, Two-Faced Woman (1941), another comedy. But the film drew controversy and was condemned by the Catholic Church and other groups and was a box office failure, which left Garbo shaken.
After World War II Greta, by her own admission, felt that the world had changed perhaps forever and she retired, never again to face the camera. She would work for the rest of her life to perpetuate the Garbo mystique. Her films, she felt, had their proper place in history and would gain in value. She abandoned Hollywood and moved to New York City. She would jet-set with some of the world's best-known personalities such as Aristotle Onassis and others. She spent time gardening and raising flowers and vegetables. In 1954 Greta was given a special Oscar for past unforgettable performances. She even penned her biography in 1990.
On April 15, 1990, Greta died of natural causes in New York and with her went the "Garbo Mystique". She was 84.- Actor
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Edward Montgomery Clift (nicknamed 'Monty' his entire life) was born on October 17, 1920 in Omaha, Nebraska, just after his twin sister Roberta (1920-2014) and eighteen months after his brother Brooks Clift. He was the son of Ethel "Sunny" Anderson (Fogg; 1888-1988) and William Brooks Clift (1886-1964). His father made a lot of money in banking but was quite poor during the depression. His mother was born out of wedlock and spent much of her life and the family fortune finding her illustrious southern lineage and raising her children as aristocrats.
At age 13, Monty appeared on Broadway ("Fly Away Home"), and chose to remain in the New York theater for over ten years before finally succumbing to Hollywood. He gained excellent theatrical notices and soon piqued the interests of numerous lovelorn actresses; their advances met with awkward conflict. While working in New York in the early 1940s, he met wealthy former Broadway star Libby Holman. She developed an intense decade-plus obsession over the young actor, even financing an experimental play, "Mexican Mural" for him. It was ironic his relationship with the bisexual middle-aged Holman would be the principal (and likely the last) heterosexual relationship of his life and only cause him further anguish over his sexuality. She would wield considerable influence over the early part of his film career, advising him in decisions to decline lead roles in Sunset Boulevard (1950), (originally written specifically for him; the story perhaps hitting a little too close to home) and High Noon (1952).
His long apprenticeship on stage made him a thoroughly accomplished actor, notable for the intensity with which he researched and approached his roles. By the early 1950s he was exclusively homosexual, though he continued to hide his homosexuality and maintained a number of close friendships with theater women (heavily promoted by studio publicists).
His film debut was Red River (1948) with John Wayne quickly followed by his early personal success The Search (1948) (Oscar nominations for this, A Place in the Sun (1951), From Here to Eternity (1953) and Judgment at Nuremberg (1961)). By 1950, he was troubled with allergies and colitis (the U.S. Army had rejected him for military service in World War II for chronic diarrhea) and, along with pill problems, he was alcoholic. He spent a great deal of time and money on psychiatry.
In 1956, during filming of Raintree County (1957), he ran his Chevrolet into a tree after leaving a party at Elizabeth Taylor's; it was she who saved him from choking by pulling out two teeth lodged in his throat. His smashed face was rebuilt, he reconciled with his estranged father, but he continued bedeviled by dependency on drugs and his unrelenting guilt over his homosexuality.
With his Hollywood career in an irreversible slide despite giving an occasional riveting performance, such as in Stanley Kramer's Judgment at Nuremberg (1961), Monty returned to New York and tried to slowly develop a somewhat more sensible lifestyle in his brownstone row house on East 61st Street in Manhattan. He was set to play in Taylor's Reflections in a Golden Eye (1967), when he died in the early morning hours of July 23, 1966, at his home at age 45. His body was found by his live-in personal secretary/companion Lorenzo James, who found Clift lying nude on top of his bed, dead from what the autopsy called "occlusive coronary artery disease." Clift's last 10 years prior to his death from his 1956 car accident were called the "longest suicide in history" by famed acting teacher Robert Lewis.- Actor
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James Maitland Stewart was born on May 20, 1908, in Indiana, Pennsylvania, to Elizabeth Ruth (Johnson) and Alexander Maitland Stewart, who owned a hardware store. He was of Scottish, Ulster-Scots, and some English descent. Stewart was educated at a local prep school, Mercersburg Academy, where he was a keen athlete (football and track), musician (singing and accordion playing), and sometime actor.
In 1929, he won a place at Princeton University, where he studied architecture with some success and became further involved with the performing arts as a musician and actor with the University Players. After graduation, engagements with the University Players took him around the northeastern United States, including a run on Broadway in 1932. But work dried up as the Great Depression deepened, and it was not until 1934, when he followed his friend Henry Fonda to Hollywood, that things began to pick up.
After his first screen appearance in Art Trouble (1934), Stewart worked for a time for MGM as a contract player and slowly began making a name for himself in increasingly high-profile roles throughout the rest of the 1930s. His famous collaborations with Frank Capra, in You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939), and, after World War II, It's a Wonderful Life (1946) helped to launch his career as a star and to establish his screen persona as the likable everyman.
Having learned to fly in 1935, he was drafted into the United States Army in 1940 as a private (after twice failing the medical for being underweight). During the course of World War II, he rose to the rank of colonel, first as an instructor at home in the United States, and later on combat missions in Europe. He remained involved with the United States Air Force Reserve after the war and officially retired in 1968. In 1959, he was promoted to brigadier general, becoming the highest-ranking actor in U.S. military history.
Stewart's acting career took off properly after the war. During the course of his long professional life, he had roles in some of Hollywood's best-remembered films, starring in a string of Westerns, bringing his everyman qualities to movies like The Man Who Shot Liberty Valance (1962)), biopics (The Stratton Story (1949), The Glenn Miller Story (1954), and The Spirit of St. Louis (1957), for instance, thrillers (most notably his frequent collaborations with Alfred Hitchcock), and even some screwball comedies.
On June 25, 1997, a thrombosis formed in his right leg, leading to a pulmonary embolism, and a week later on July 2, 1997, surrounded by his children, James Stewart died at age 89 at his home in Beverly Hills, California. His last words to his family were, "I'm going to be with Gloria now".- Gloria Stewart was born on 10 March 1918 in Larchmont, New York, USA. She was an actress, known for Laugh-In (1977), The Jimmy Stewart Show (1971) and The Jack Benny Program (1950). She was married to James Stewart and Edward Beale McLean Jr.. She died on 16 February 1994 in Los Angeles, California, USA.
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This remarkable, soft-spoken American began in films as a diffident juvenile. With passing years, he matured into a star character actor who exemplified not only integrity and strength, but an ideal of the common man fighting against social injustice and oppression. He was born in Grand Island, Hall, Nebraska, the son of Herberta Elma (Jaynes) and William Brace Fonda, who was a commercial printer, and proprietor of the W. B. Fonda Printing Company in Omaha, Nebraska. His distant ancestors were Italians who had fled their country and moved to Holland, presumably because of political or religious persecution. In the mid-1600s, they crossed the Atlantic and settled in upstate New York where they founded a community with the Fonda name.
Growing up, Henry developed an early interest in journalism after having a story published in a local newspaper. At the age of twelve, he helped in his father's printing business for $2 a week. Following graduation from high school in 1923, he got a part-time job in Minneapolis with the Northwestern Bell Telephone Company which allowed him at first to pursue journalistic studies at the University of Minnesota. As it became difficult to juggle his working hours with his academic roster, he obtained another position as a physical education instructor at $30 a week, including room and board. By this time, he had grown to a height of six foot one and was a natural for basketball.
In 1925, having returned to Omaha, Henry reevaluated his options and came to the conclusion that journalism was not his forte, after all. For a while, he tried his hand at several temporary jobs, including as a mechanic and a window dresser. Then, despite opposition from his parents, Henry accepted an offer from Gregory Foley, director of the Omaha Playhouse, to play the title role in 'Merton of the Movies'. His father would not speak to him for a month. The play and its star received fairly good notices in the local press. It ran for a week, after which Henry observed "the idea of being Merton and not myself taught me that I could hide behind a mask". For the rest of the repertory season, Henry advanced to assistant director which enabled him to design and paint sets as well as act. A casual trip to New York, however, had already made him set his sights on Broadway.
In 1928, he headed east and briefly played in summer stock before joining the University Players, a group of talented Princeton and Harvard graduates among whose number were such future luminaries as James Stewart (who would remain his closest lifelong friend), Joshua Logan and Kent Smith. Before long, Henry played leads opposite Margaret Sullavan, soon to become the first of his five wives. Both marriage and the players broke up four years later. In 1932, Henry found himself sharing a two-room New York apartment with Jimmy Stewart and Joshua Logan. For the next two years, he alternated scenic design with acting at various repertory companies. In 1934, he got a break of sorts, when he was given the chance to present a comedy sketch with Imogene Coca in the Broadway revue New Faces. That year, he also hired Leland Hayward as his personal management agent and this was to pay off handsomely.
It was Hayward who persuaded the 29-year old to become a motion picture actor, despite initial misgivings and reluctance on Henry's part. Independent producer Walter Wanger, whose growing stock company was birthed at United Artists, needed a star for The Farmer Takes a Wife (1935). With both first choice actors Gary Cooper and Joel McCrea otherwise engaged, Henry was the next available option. After all, he had just completed a successful run on Broadway in the stage version. The cheesy publicity tag line for the picture was "you'll be fonder of Fonda", but the film was an undeniable hit. Wanger, realizing he had a good thing going, next cast Henry in a succession of A-grade pictures which capitalized on his image as the sincere, unaffected country boy. Pick of the bunch were the Technicolor outdoor western The Trail of the Lonesome Pine (1936), the gritty Depression-era drama You Only Live Once (1937) (with Henry as a back-to-the-wall good guy forced into becoming a fugitive from the law by circumstance), the screwball comedy The Moon's Our Home (1936) (with ex-wife Sullavan), the excellent pre-civil war-era romantic drama Jezebel (1938) and the equally superb Young Mr. Lincoln (1939), in which Henry gave his best screen performance to date as the 'jackleg lawyer from Springfield'. Henry made two more films with director John Ford: the pioneering drama Drums Along the Mohawk (1939) and The Grapes of Wrath (1940), with Henry as Tom Joad, often regarded his career-defining role as the archetypal grassroots American trying to stand up against oppression. It also set the tone for his subsequent career. Whether he played a lawman (Wyatt Earp in My Darling Clementine (1946)), a reluctant posse member (The Ox-Bow Incident (1942), a juror committed to the ideal of total justice in (12 Angry Men (1957)) or a nightclub musician wrongly accused of murder (The Wrong Man (1956)), his characters were alike in projecting integrity and quiet authority. In this vein, he also gave a totally convincing (though historically inaccurate) portrayal in the titular role of The Return of Frank James (1940), a rare example of a sequel improving upon the original.
Henry rarely featured in comedy, except for a couple of good turns opposite Barbara Stanwyck -- with whom he shared an excellent on-screen chemistry -- in The Mad Miss Manton (1938) and The Lady Eve (1941). He was also good value as a poker-playing grifter in the western comedy A Big Hand for the Little Lady (1966). Finally, just to confound those who would typecast him, he gave a chilling performance as one of the coldest, meanest stone killers ever to roam the West, in Sergio Leone's classic Once Upon a Time in the West (1968). Illness curtailed his work in the 1970s. His final screen role was as an octogenarian in On Golden Pond (1981), in which he was joined by his daughter Jane. It finally won him an Oscar on the heels of an earlier Honorary Academy Award. Too ill to attend the ceremony, he died soon after at the age of 77, having left a lasting legacy matched by few of his peers.- Actress
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Born in New York City to legendary screen star Henry Fonda and Ontario-born New York socialite Frances Seymour Brokaw, Jane Seymour Fonda was destined early to an uncommon and influential life in the limelight. Although she initially showed little inclination to follow her father's trade, she was prompted by Joshua Logan to appear with her father in the 1954 Omaha Community Theatre production of "The Country Girl". Her interest in acting grew after meeting Lee Strasberg in 1958 and joining the Actors Studio. Her screen debut in Tall Story (1960) (directed by Logan) marked the beginning of a highly successful and respected acting career highlighted by two Academy Awards for her performances in Klute (1971) and Coming Home (1978), and five Oscar nominations for Best Actress in They Shoot Horses, Don't They? (1969), Julia (1977), The China Syndrome (1979), The Morning After (1986) and On Golden Pond (1981), which was the only film she made with her father. Her professional success contrasted with her personal life, which was often laden with scandal and controversy. Her appearance in several risqué movies (including Barbarella (1968)) by then-husband Roger Vadim was followed by what was to become her most debated and controversial period: her espousal of anti-establishment causes and especially her anti-war activities during the Vietnam War. Her political involvement continued with fellow activist and husband Tom Hayden in the late 1970s and early 1980s. In the 1980s she started the aerobic exercise craze with the publication of the "Jane Fonda's Workout Book". She and Hayden divorced, and she married broadcasting mogul Ted Turner in 1991.- Actor
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Peter Henry Fonda was born in New York City, to legendary screen star Henry Fonda and Ontario, Canada-born New York socialite Frances Brokaw (born Frances Ford Seymour). He was the younger brother of actress and activist Jane Fonda and the father of actress Bridget Fonda.
Fonda made his professional stage debut on Broadway in 1961 in Blood, Sweat and Stanley Poole, for which he received rave reviews from the New York Critics, and won the Daniel Blum Theater World Award and the New York Critics Circle Award for Best New Actor. He began his feature film career in 1963, playing the romantic lead in Tammy and the Doctor and joined the ensemble cast of the World War II saga, The Victors.
Shortly thereafter, Fonda began what would become a famous association with Roger Corman, starring in Wild Angels, as the ultra-cool, iron-fisted leader of a violent biker gang, opposite Nancy Sinatra, Bruce Dern, and Diane Ladd. Fonda starred in Corman's 1967 psychedelic film The Trip, also starring Dern and Susan Strasberg. His next project was the seminal 1969 anti-establishment film Easy Rider, which he produced and co-scripted, receiving an Academy Award nomination for Best Original Screenplay.
His acting credits included the feature films Outlaw Blues, an expose of the country music business; Dirty Mary, Crazy Larry; Race with the Devil; Robert Rossen's Lilith; Split Image; Robert Wise's Two People; and the cult films Love and a .45 and Nadja. He appeared in Grace of My Heart (directed by Alison Anders), and John Carpenter's Escape from L.A., starring Kurt Russell. He made a cameo appearance in Bodies, Heat & Motion, which starred his daughter Bridget Fonda.
Fonda won critical acclaim for his portrayal of Ulee Jackson, the taciturn beekeeper in the 1997 film Ulee's Gold, earning him both a Golden Globe Award for Best Actor and the New York Film Critics Award, as well as an Oscar nomination. Following this, he published his autobiography, Don't Tell Dad, and was then seen in the NBC movie The Tempest, for which he had been nominated for another Golden Globe Award for Best Actor in a Mini-Series. Fonda then appeared with Helen Mirren in the Showtime telefilm The Passion of Ayn Rand, where he won the Golden Globe for outstanding supporting actor in a mini-series or movie made for television and was nominated for both an Emmy and SAG Award. He co-starred in Steven Soderbergh's 1997 film The Limey. Following this, he appeared in Thomas and the Magic Railroad for director Britt Allcroft, starring Alec Baldwin.
Fonda directed his first feature film, The Hired Hand, in 1971. A critically acclaimed western in which he also starred, the film debuted with a restored version at the 2001 Venice Film Festival; it then screened at the Toronto Film Festival before reopening in theaters in 2003. Other directing credits include the science fiction feature Idaho Transfer, starring as a gambler who wins Brooke Shields in a poker game.
Fonda co-starred in HBO's The Laramie Project, based on the true story of openly gay college student Matthew Shepard, killed in an act of senseless violence and cruelty, which attracted national attention. Fonda starred in The Maldonado Miracle, directed by Salma Hayek for Showtime Networks, and was nominated for a Daytime Emmy Award for his role. Fonda also starred opposite Kris Kristofferson in Wooly Boys, which was released in March 2004, and the television drama Back When We Were Grownups, opposite Blythe Danner and Faye Dunaway. Fonda was seen in Soderbergh's Ocean's Twelve and appeared in Mark Steven Johnson's Ghost Rider, opposite Nicolas Cage.
Fonda's last projects included director Ron Maxwell's Civil War-era drama Copperhead, alongside Billy Campbell and Angus MacFadyen, The Ultimate Gift directed by Michael Landon Jr., and John McNaughton's The Harvest, with Samantha Morton and Michael Shannon.
Peter Fonda died on August 16, 2019, in Los Angeles.- Actor
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His father, Richard Head Welles, was a well-to-do inventor, his mother, Beatrice (Ives) Welles, a beautiful concert pianist; Orson Welles was gifted in many arts (magic, piano, painting) as a child. When his mother died in 1924 (when he was nine) he traveled the world with his father. He was orphaned at 15 after his father's death in 1930 and became the ward of Dr. Maurice Bernstein of Chicago. In 1931, he graduated from the Todd School in Woodstock, Illinois. He turned down college offers for a sketching tour of Ireland. He tried unsuccessfully to enter the London and Broadway stages, traveling some more in Morocco and Spain, where he fought in the bullring.
Recommendations by Thornton Wilder and Alexander Woollcott got him into Katharine Cornell's road company, with which he made his New York debut as Tybalt in 1934. The same year, he married, directed his first short, and appeared on radio for the first time. He began working with John Houseman and formed the Mercury Theatre with him in 1937. In 1938, they produced "The Mercury Theatre on the Air", famous for its broadcast version of "The War of the Worlds" (intended as a Halloween prank). His first film to be seen by the public was Citizen Kane (1941), a commercial failure losing RKO $150,000, but regarded by many as the best film ever made. Many of his subsequent films were commercial failures and he exiled himself to Europe in 1948.
In 1956, he directed Touch of Evil (1958); it failed in the United States but won a prize at the 1958 Brussels World's Fair. In 1975, in spite of all his box-office failures, he received the American Film Institute's Lifetime Achievement Award, and in 1984, the Directors Guild of America awarded him its highest honor, the D.W. Griffith Award. His reputation as a filmmaker steadily climbed thereafter.- Actor
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Charles Scorsese was born on 8 May 1913 in Manhattan, New York City, New York, USA. He was an actor and assistant director, known for Goodfellas (1990), Cape Fear (1991) and After Hours (1985). He was married to Catherine Scorsese. He died on 23 August 1993 in Kips Bay, Manhattan, New York City, New York, USA.- Actress
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Catherine Scorsese was an American actress of Italian descent, often typecast as the typical Italian mother in films. Her best-known role was that of Mrs. DeVito in "Goodfellas" (1990).
Scorsese was born under the name "Catherine Cappa" in 1912. She was a native of Little Italy, Manhattan, New York City, with both of her parents being Sicilian Americans. Her father Martin Cappa worked as a stage coordinator in theatre, while her mother Domenica owned her own shop.
The Cappas were a large family. Catherine had three brothers and five sisters. The family lived in a three-room apartment in Little Italy, sharing spaces with other relatives and boarders.
By the 1930s, Catherine was working as a machinist in the Garment District. In 1933, she married the actor Luciano Charles "Charlie" Scorsese (1913-1993), who was also working in the garment industry at the time. The bride was 21 years old, while the groom was 20 years old. The couple had three children, including film director Martin Scorsese.
Scorsese made her film debut in her son's short film "It's Not Just You, Murray!" (1964). She also played maternal roles in "Who's That Knocking at My Door" (1967), "The King of Comedy" (1983), "Easy Money" (1983), "Goodfellas" (1990), and "Casino" (1995). She had bit parts in several other films. She appeared as herself in the documentary "Italianamerican" (1974), about the experiences of Italian-American immigrants.
Scorsese made her last film appearance in "Casino", at the age of 83. She was working at the time on her cookbook "Italianamerican: The Scorsese Family Cookbook". It was completed and published in 1996, months before her death. It was her only published work.
Late in life, Scorsese suffered from Alzheimer's disease, a chronic neurodegenerative disease. The disease eventually caused her death in January 1997. She was 84 at the time of death.- Producer
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Martin Charles Scorsese was born on November 17, 1942 in Queens, New York City, to Catherine Scorsese (née Cappa) and Charles Scorsese, who both worked in Manhattan's garment district, and whose families both came from Palermo, Sicily. He was raised in the neighborhood of Little Italy, which later provided the inspiration for several of his films. Scorsese earned a B.S. degree in film communications in 1964, followed by an M.A. in the same field in 1966 at New York University's School of Film. During this time, he made numerous prize-winning short films including The Big Shave (1967), and directed his first feature film, Who's That Knocking at My Door (1967).
He served as assistant director and an editor of the documentary Woodstock (1970) and won critical and popular acclaim for Mean Streets (1973), which first paired him with actor and frequent collaborator Robert De Niro. In 1976, Scorsese's Taxi Driver (1976), also starring De Niro, was awarded the Palme d'Or at the Cannes Film Festival, and he followed that film with New York, New York (1977) and The Last Waltz (1978). Scorsese directed De Niro to an Oscar-winning performance as boxer Jake LaMotta in Raging Bull (1980), which received eight Academy Award nominations, including Best Picture and Best Director, and is hailed as one of the masterpieces of modern cinema. Scorsese went on to direct The Color of Money (1986), The Last Temptation of Christ (1988), Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993), Casino (1995) and Kundun (1997), among other films. Commissioned by the British Film Institute to celebrate the 100th anniversary of the birth of cinema, Scorsese completed the four-hour documentary, A Personal Journey with Martin Scorsese Through American Movies (1995), co-directed by Michael Henry Wilson.
His long-cherished project, Gangs of New York (2002), earned numerous critical honors, including a Golden Globe Award for Best Director; the Howard Hughes biopic The Aviator (2004) won five Academy Awards, in addition to the Golden Globe and BAFTA awards for Best Picture. Scorsese won his first Academy Award for Best Director for The Departed (2006), which was also honored with the Director's Guild of America, Golden Globe, New York Film Critics, National Board of Review and Critic's Choice awards for Best Director, in addition to four Academy Awards, including Best Picture. Scorsese's documentary of the Rolling Stones in concert, Shine a Light (2008), followed, with the successful thriller Shutter Island (2010) two years later. Scorsese received his seventh Academy Award nomination for Best Director, as well as a Golden Globe Award, for Hugo (2011), which went on to win five Academy Awards.
Scorsese also serves as executive producer on the HBO series Boardwalk Empire (2010) for which he directed the pilot episode. Scorsese's additional awards and honors include the Golden Lion from the Venice Film Festival (1995), the AFI Life Achievement Award (1997), the Honoree at the Film Society of Lincoln Center's 25th Gala Tribute (1998), the DGA Lifetime Achievement Award (2003), The Kennedy Center Honors (2007) and the HFPA Cecil B. DeMille Award (2010). Scorsese and actor Leonardo DiCaprio have worked together on five separate occasions: Gangs of New York (2002), The Aviator (2004), The Departed (2006), Shutter Island (2010) and The Wolf of Wall Street (2013).- Writer
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Satyajit Ray was born in Calcutta on May 2, 1921. His father, Late Sukumar Ray was an eminent poet and writer in the history of Bengali literature. In 1940, after receiving his degree in science and economics from Calcutta University, he attended Tagore's Viswa-Bharati University. His first movie Pather Panchali (1955) won several International Awards and set Ray as a world-class director. He died on April twenty-third, 1992.- Writer
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Ernst Ingmar Bergman was born July 14, 1918, the son of a priest. The film and T.V. series, The Best Intentions (1992) is biographical and shows the early marriage of his parents. The film Sunday's Children (1992) depicts a bicycle journey with his father. In the miniseries Private Confessions (1996) is the trilogy closed. Here, as in 'Den Goda Viljan' Pernilla August play his mother. Note that all three movies are not always full true biographical stories. He began his career early with a puppet theatre which he, his sister and their friends played with. But he was the manager. Strictly professional he begun writing in 1941. He had written a play called 'Kaspers död' (A.K.A. 'Kaspers Death') which was produced the same year. It became his entrance into the movie business as Stina Bergman (not a close relative), from the company S.F. (Swedish Filmindustry), had seen the play and thought that there must be some dramatic talent in young Ingmar. His first job was to save other more famous writers' poor scripts. Under one of that script-saving works he remembered that he had written a novel about his last year as a student. He took the novel, did the save-poor-script job first, then wrote a screenplay on his own novel. When he went back to S.F., he delivered two scripts rather than one. The script was Torment (1944) and was the fist Bergman screenplay that was put into film (by Alf Sjöberg). It was also in that movie Bergman did his first professional film-director job. Because Alf Sjöberg was busy, Bergman got the order to shoot the last sequence of the film. Ingmar Bergman is the father of Daniel Bergman, director, and Mats Bergman, actor at the Swedish Royal Dramatic Theater. Ingmar Bergman was also C.E.O. of the same theatre between 1963-1966, where he hired almost every professional actor in Sweden. In 1976 he had a famous tax problem. Bergman had trusted other people to advise him on his finances, but it turned out to be very bad advice. Bergman had to leave the country immediately, and so he went to Germany. A few years later he returned to Sweden and made his last theatrical film Fanny and Alexander (1982). In later life he retired from movie directing, but still wrote scripts for film and T.V. and directed plays at the Swedish Royal Dramatic Theatre for many years. He died peacefully in his sleep on July 30, 2007.- Director
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Andrzej Wajda is an Academy Award-winning director. He is the most prominent filmmaker in Poland known for The Promised Land (1975), Man of Iron (1981), and Katyn (2007).
He was Born on March 6, 1926, in Suwalki, Poland. His mother, Aniela Wajda, was a teacher at a Ukrainian school. His father, Jakub Wajda, was a captain in the Polish infantry. Wajda described his childhood as a happy pastoral country life before the Second World War. In 1939, Poland was invaded by Nazi Germany and Soviet Union. In 1940, Wajda's father was killed by Stalin's agents in the Katyn massacre.
Young Wajda survived the Second World War with his mother and his brother in Nazi-occupied Poland. In 1942, Wajda joined the Polish resistance and served in the Armia Krajowa until the war ended in 1945. In 1946 he moved to Kraków. There Wajda went to Academy of Fine Arts. He studied painting, particularly the impressionist and post-impressionist painting, and was especially fond of Paul Cezanne. From 1950-1954 he studied film directing at the High Film School in Lódz under directors Jerzy Toeplitz and Aleksander Ford. Later, Wajda described the influential and eye-opening experience from seeing French avant-garde films, like Ballet mécanique (1924) by artist-director Fernand Léger.
In 1955 he made his debut as director of full-length A Generation (1955), about the generation of youth coming of age during the Nazi occupation of Poland. His award-winning Kanal (1957) and Ashes and Diamonds (1958) concluded the trilogy about life in Poland during WWII. Although he was under pressure from the Soviet-dominated Polish authorities, Wajda positioned himself as an artist who was above the conflict. He still managed to show the undeclared civil war between two anti-Nazi Polish forces, which were divided by political ideology: the Polish communists and the partisans - folk heroes of the Home Army.
His Oscar-nominated The Promised Land (1975) was a work of multi-layered allegory and Symbolism. Wajda's witty depiction of the 19th century capitalism in Poland actually alluded to the contemporary Communist politics. The shooting of workers in the final scenes was actually unmasking of the official politics of killing workers in the Soviet Union in 1962, under Nikita Khrushchev, and in Poland a few years later. The story of a film student who traces the life of defamed "hero" in Man of Marble (1977) was a deconstruction of the false impressions that official propaganda was using to brainwash the public. The same main characters in Man of Iron (1981) continued unmasking the Communist regime's manipulations against working class people. In 1981, Wajda joined the "Solidarity" labor movement of Lech Walesa.
From 1989 to 1991 Wajda was elected Senator of the Republic of Poland. From 1992 to 1994 he was Member of Presidential Council for Culture. In 1994 he founded the Center of Japanese Art and Technology in Kraków, and was awarded the Order of Rising Sun in Japan (1995). Wajda was President of Polish Film Association (1978-1983). He was Member of "Solidarity" Lech Walesa Council (1981-1989). He won an honorary Oscar (2000) for his contribution to cinema, and an honorary Golden Bear (2006) at the Berlin Film Festival.
Wajda's Katyn (2007) was nominated for Oscar for Best Foreign Language Film of the Year in 2008, and received many other awards and nominations. The film shows historic events in Katyn during WWII, where Wajda's father was among thousands of Polish officers killed by Soviet communists under the dictatorship of Joseph Stalin. Wajda's film was well received by the last Soviet leader, Mikhail Gorbachev, who initially opened the facts about Katyn to help people understand each other and overcome the tragic past.
"We never hoped to live to see the fall of the Soviet Union, to see Poland as a free country", said Andrzej Wajda.- Writer
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Together with Fellini, Bergman and Kurosawa, Michelangelo Antonioni is credited with defining the modern art film. And yet Antonioni's cinema is also recognized today for defying any easy categorization, with his films ultimately seeming to belong to their own distinctive genre. Indeed, the difficulty of precisely describing their category is itself the very quintessence of Antonioni's films. Among the most-cited contributions of Antonioni's cinema are their striking descriptions of that unique strain of post-boom ennui everywhere apparent in the transformed life and leisure habits of the Italian middle and upper classes. Detecting profound technological, political and psychological shifts at work in post-WWII Italy, Antonioni set out to explore the ambiguities of a suddenly alienated and dislocated Italy, not simply through his oblique style of narrative and characters, nor through any overt political messaging, but instead by tearing asunder the traditional boundaries of cinematic narrative in order to explore an ever shifting internal landscape expressed through architecture, urban space and the sculptural, shaping presence of objects, shapes and emotions invented by camera movement and depth of focus.
Antonioni deftly manipulates the quieter, indirect edges of cinematic structure, often so discretely that his existential puzzles are felt before they can be intellectualized. The negative space is as prominent as the positive, silence as loud as noise, absence as palpable as presence, and passivity as driving a force as direct action. Transgressing unspoken cinematic laws, Antonioni frequently focuses on female protagonists while refusing to sentimentalize or morally judge his characters and placing them on equal footing with the other elements within his total dynamic system, like sounds or set pieces. And he violates spoken rules with unconventional cutting techniques, fractured spatial and temporal continuity, and a camera that insistently lingers in melancholy pauses, long after the actors depart, as if drifting just behind an equally distracted, dissipating narrative. Leaving questions unanswered and plot points irresolute, dispensing with exposition, suspense, sentimentality and other cinematic security blankets, Antonioni releases the viewer into a gorgeous, densely layered fog to contemplate and wrestle with his characters' imprecise quandaries and endless possibilities. Culminating in tour de force endings that often reframe the narrative in a daring, parting act of deconstruction, Antonioni's rigorously formal, yet open compositions allow his great, unwieldy questions to spill over into the world outside the cinema and outside of time.
Born into a middle-class family in the northern Italian town of Ferrara, Antonioni studied economics at the University of Bologna where he also co-founded the university's theatrical troupe. While dedicating himself to painting, writing film reviews, working in financial positions and in different capacities on film productions, Antonioni suffered a few false starts before expressing his unique directorial vision and voice in his first realized short film, Gente del Po, a moving portrait of fisherman in the misty Po Valley where he was raised. Uncomfortable with the neo-realist thrust of Italian cinema, Antonioni directed a series of eccentric and oblique documentary shorts that, in retrospect, reveal his desire to investigate the psyche's mysterious interiors. In his first fictional feature, Story of a Love Affair, Antonioni immediately subtly challenged traditional plot and audience expectation in ways that anticipate the formal and emotional expressionist dynamic that would fully flower within the groundbreaking L'Avventura (1960).
Reversing its raucous 1960 premiere to an infuriated Cannes audience, L'Avventura was rapturously lauded by fellow artists and filmmakers and awarded a special Jury Prize "for its remarkable contribution toward the search for a new cinematic language." It also presented the controlled ambivalence of Monica Vitti, who would become his partner, muse and psychological constant throughout his famed trilogy of L'Avventura, La Notte (1961) and L'Eclisse (1962) in addition to the exquisite Red Desert (1964), a film that marked another significant shift toward expressive color, male leads and working with soft focus and faster cuts. After the phenomenal commercial success of the MGM-produced Blow-Up (1966), Antonioni was devastated by the anti-climactic box office disaster of Zabriskie Point (1970) and returned to documentary. Invited to make Chung Kuo China by the Chinese government, Antonioni delivered a mesmerizing yet unsentimental four-hour tour of China which was vehemently rejected by its solicitors. A few years later, Antonioni returned to fictional form in his last masterpiece, The Passenger (1975), an enigmatic fable of vaporous identity that offers a bold companion piece to L'Avventura. Aside from the thematically retrospective Identification of a Woman (1982) and a period film made for television, The Mystery of Oberwald (1980) in which he conducted unusual experiments with color and video, Antonioni closed out his career with mostly short films, many of which were made after he suffered a stroke in 1985.
Tremendously influential yet largely taken for granted, Antonioni made difficult, abstract cinema mainstream. Embracing an anarchic geometry, Antonioni turned the architecture of narrative filmmaking inside-out in the most eloquent way possible, with many of his iconic scenes eternally preserved in the depths of the cinema's psyche. Observing modern maladies without judgment - sexism, dissolution of family and tradition, ecological/technological quandaries and the eternal questions of our place in the cosmos - Antonioni's prescience continues to resonate deeply as we find our way in the quickly moving fog.- Writer
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The women who both attracted and frightened him and an Italy dominated in his youth by Mussolini and Pope Pius XII - inspired the dreams that Fellini started recording in notebooks in the 1960s. Life and dreams were raw material for his films. His native Rimini and characters like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would be remembered in several films. His traveling salesman father Urbano Fellini showed up in La Dolce Vita (1960) and 8½ (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real life role of journalist and caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds "Cico and Pallina". Pallina was played by acting student Giulietta Masina, who became his real life wife from October 30, 1943, until his death half a century later. The young Fellini loved vaudeville and was befriended in 1940 by leading comedian Aldo Fabrizi. Roberto Rossellini wanted Fabrizi to play Don Pietro in Rome, Open City (1945) and made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Paisan (1946). On that film he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work.- Director
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Influential Japanese film director born May 7th, 1911, often credited as being the father of Godzilla. His name is a combination of "I" (or Ino), meaning "boar", and "shirô," meaning fourth son in the family. Originally, the young Honda had aspirations of becoming an artist; however, as he entered into his teens, it was cinema that became his number 1 interest.
He attended Nippon University studying art, but was drafted by the Japanese military and spent nearly eight years in uniform. After a period of imprisonment in China as a P.O.W., he returned to Japan to join Toho Studios, where, soon afterward, he became acquainted with its special effects director, Eiji Tsuburaya. The two worked on a handful of films before collaborating on the ground-breaking epic monster film Godzilla (1954). Honda was also at the director's helm for such films as Rodan (1956), The Mysterians (1957) and its loose sequel Battle in Outer Space (1959), Mothra (1961), Matango (1963), and Destroy All Monsters (1968). Although the Japanese monster films had been derided by some U.S. critics, Honda was especially proud of his contribution to this rather unique aspect of the fantasy and science fiction genres.
Honda was a life-long friend of fellow Japanese director Akira Kurosawa and worked on several of his landmark films, including Stray Dog (1949), Kagemusha: The Shadow Warrior (1980) (a.k.a. "Kagemusha the Shadow Warrior"), and Ran (1985).
Honda died at the age of 81 on February 28th, 1993, with Kurosawa delivering the eulogy at his funeral.- Special Effects
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Eiji Tsuburaya ranks alongside Willis H. O'Brien and Ray Harryhausen as one of the great visionary SFX masters of twentieth century fantasy cinema. Best remembered as the amazing special effects genius behind the "Godzilla" series of monster films commencing in 1954, he also contributed effects to a host of other Japanase monster / fantasy / science fiction / drama / propaganda films for over four decades.
Eiji Tsuburaya had a keen interest in the cinema from a young age, and legend has it that he acquired a second hand movie projector when he was only ten years old, and pulled it apart and put it back together with relative ease. He began work as a cinematographer in Kyoto around 1919, and then enhanced his skills to include camera work throughout the 1920s, at which time his eye for detail was in high demand from many studio's. Around 1938, he became head of Special Visual Techniques at Toho Studios, and during the Second World War he was involved in the production of several Japanaese propaganda films. He went freelance after the war, and in 1954 he collaborated with director Ishirô Honda on the monster epic Godzilla (1954) (aka "Godzilla"). The film was an enormous hit in Japan, and additional scenes were filmed with US actor Raymond Burr and then inserted strategically to give the movie western appeal. "Godzilla, King Of The Monsters" was then released in the USA to strong box office takings, and Godzilla has since appeared in over two dozen films spanning over fifty years, becoming a key cult icon of Japanese culture!!
The incredibly talented Tsuburaya went on to be the SFX director behind dozens of Japanese monster & science fiction classics including _Sora no daikiju Radon (1956)_ (aka "Rodan") The H-Man (1958) (aka "The H-Man") Densô ningen (1960) (aka "The Telegian"), Mothra (1961) (aka "Mothra") King Kong vs. Godzilla (1963) (aka "King Kong versus Godzilla"), Varan the Unbelievable (1962), Matango (1963), _Furankenshutain tai chitei kaiju Baragon (1965)_ (aka "Frankenstein Conquers the World"), and _Kaiju soshingeki (1968)_ (aka "Destroy All Monsters" ). Tsuburaya had also established his own production company in 1963 (Tsuburaya Productions), creators of the highly popular "Ultraman" character, and subsequent TV shows and films.
On January 25, 1970, while vacationing in Shizuoka Prefecture, Tsuburaya suffered a sudden, fatal heart attack. His incredible film & SFX production company is still active today under the guidance of his grandson, Kazuo Tsuburaya.- Actor
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Nick Stewart was born on 15 March 1910 in New York City, New York, USA. He was an actor and writer, known for It's a Mad Mad Mad Mad World (1963), Carmen Jones (1954) and Silver Streak (1976). He was married to Edna Stewart. He died on 18 December 2000 in Los Angeles, California, USA.- Actor
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Redd Foxx began doing stand-up comedy on the infamous "Chitlin' Circuit" in the 1940s and 1950s. Foxx was one of the premier "blue humor" comedians. Blue humor was very dirty, too dirty for white audiences. For years his party albums were not available in white record stores. In the 1960s his records became available, although marginally in white record stores, leading to minor comedy work on The Ed Sullivan Show (1948) (aka "The Ed Sullivan Show") and The Red Skelton Hour (1951), among other classic variety shows of the time. Foxx developed a fan base in the 1960s that led to increased notoriety. He received his own television series in 1972 called Sanford and Son (1972), which was a reworking of the British sitcom Steptoe and Son (1962). Foxx's character, Fred Sanford (was actually Foxx's brother's name), was a cranky old man who was set in his ways and would insult both friends and strangers at the drop of a hat. He ran a junkyard in Watts, a bad neighborhood in Los Angeles, with his son Lamont (played by Demond Wilson). The show broke down racial stereotypes and was a huge success, making Foxx and the show household names. Foxx fought a very public battle with the writers and producers of the show, claiming that they did not do enough to promote the black experience, and in general complained there were not enough black writers or producers in the entertainment industry. These highly publicized disputes led to the show faltering artistically, but not in the ratings. Foxx left the show in 1977 to accomplish his dream on ABC: his own variety show, which lasted less than a year. He also starred in the controversial film Norman... Is That You? (1976).
Foxx's trouble with the law and the Internal Revenue Service hampered his career in the early 1980s. He flopped yet again with the sitcom The Redd Foxx Show (1986) on ABC. He did, however, find success playing a ghost in the TV movie Ghost of a Chance (1987), with Dick Van Dyke. The late 1980s found Foxx on a rebound, as he starred with Richard Pryor and Eddie Murphy in the popular Harlem Nights (1989), which showcased the three premiere black comedians of their respective generations. A whole new generation of comedians begin claiming Redd Foxx as a major influence on their careers, including Murphy and Pryor. Foxx looked like he was finding success 20 years after Sanford and Son (1972) with The Royal Family (1991). However, we will never know if the show would have been a success--while rehearsing for an episode, Foxx collapsed and was rushed to a hospital. He died in October of 1991. Redd Foxx will be remembered as a pioneering comedian who influenced generations of comedians and helped break down racial barriers in the the entertainment industry. His influence seems as strong as ever.- Actor
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The son of a saloon keeper, Jack Benny (born Benny Kubelsky) began to study the violin at the age six, and his "ineptness" at it, would later become his trademark (in reality, he was a very accomplished player). When given the opportunity to play in live theatre professionally, Benny quit school and joined vaudeville. In the same theatre that Benny was working with were the very young The Marx Brothers. Their mother, Minnie Marx, wanted Benny to go on the road with them. However, this plan was foiled by his parents who would not let their 17-year-old son on the road.
Having a successful vaudeville career, Benny also had a greater career on radio for "The Jack Benny Program". The show was one of the few successful radio programs that also became a successful television show.
Benny also starred in several movies, including The Hollywood Revue of 1929 (1929), Broadway Melody of 1936 (1935), The Horn Blows at Midnight (1945) and George Washington Slept Here (1942), although he had much greater success on radio and on TV than he did on the big screen.
He was good friends with Fred Allen, with whom he had a long-standing comic "feud".- Writer
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The son of a former circus clown turned grocer and a cleaning woman, Red Skelton was introduced to show business at the age of seven by Ed Wynn, at a vaudeville show in Vincennes. At age 10, he left home to travel with a medicine show through the Midwest, and joined the vaudeville circuit at age 15. At age 18, he married Edna Marie Stilwell, an usher who became his vaudeville partner and later his chief writer and manager. He debuted on Broadway and radio in 1937 and on film in 1938. His ex-wife/manager negotiated a seven-year Hollywood contract for him in 1951, the same year The Red Skelton Hour (1951) premiered on NBC. For two decades, until 1971, his show consistently stayed in the top twenty, both on NBC and CBS. His numerous characters, including Clem Kaddiddlehopper, George Appleby, and the seagulls Gertrude and Heathcliffe delighted audiences for decades. First and foremost, he considered himself a clown, although not the greatest, and his paintings of clowns brought in a fortune after he left television. His home life was not completely happy--two divorces and a son Richard who died of leukemia at age nine--and he did not hang around with other comedians. He continued performing live until illness, and he was a longtime supporter of children's charities. Red Skelton died at age 84 of pneumonia in Rancho Mirage, California on September 17, 1997.- Writer
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Considered to be one of the most pivotal stars of the early days of Hollywood, Charlie Chaplin lived an interesting life both in his films and behind the camera. He is most recognized as an icon of the silent film era, often associated with his popular character, the Little Tramp; the man with the toothbrush mustache, bowler hat, bamboo cane, and a funny walk.
Charles Spencer Chaplin was born in Walworth, London, England on April 16, 1889, to Hannah Harriet Pedlingham (Hill) and Charles Chaplin, both music hall performers, who were married on June 22, 1885. After Charles Sr. separated from Hannah to perform in New York City, Hannah then tried to resurrect her stage career. Unfortunately, her singing voice had a tendency to break at unexpected moments. When this happened, the stage manager spotted young Charlie standing in the wings and led him on stage, where five-year-old Charlie began to sing a popular tune. Charlie and his half-brother, Syd Chaplin spent their lives in and out of charity homes and workhouses between their mother's bouts of insanity. Hannah was committed to Cane Hill Asylum in May 1903 and lived there until 1921, when Chaplin moved her to California.
Chaplin began his official acting career at the age of eight, touring with the Eight Lancashire Lads. At age 18, he began touring with Fred Karno's vaudeville troupe, joining them on the troupe's 1910 United States tour. He traveled west to California in December 1913 and signed on with Keystone Studios' popular comedy director Mack Sennett, who had seen Chaplin perform on stage in New York. Charlie soon wrote his brother Syd, asking him to become his manager. While at Keystone, Chaplin appeared in and directed 35 films, starring as the Little Tramp in nearly all.
In November 1914, he left Keystone and signed on at Essanay, where he made 15 films. In 1916, he signed on at Mutual and made 12 films. In June 1917, Chaplin signed up with First National Studios, after which he built Chaplin Studios. In 1919, he and Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists (UA).
Chaplin's life and career was full of scandal and controversy. His first big scandal was during World War I, at which time his loyalty to England, his home country, was questioned. He had never applied for American citizenship, but claimed that he was a "paying visitor" to the United States. Many British citizens called Chaplin a coward and a slacker. This and other career eccentricities sparked suspicion with FBI chief J. Edgar Hoover and the House Un-American Activities Committee (HUAC), who believed that he was injecting Communist propaganda into his films. Chaplin's later film The Great Dictator (1940), which was his first "talkie", also created a stir. In the film, Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, the film grossed over $5 million and earned five Academy Award Nominations.
Another scandal occurred when Chaplin briefly dated 22 year-old Joan Barry. However, Chaplin's relationship with Barry came to an end in 1942, after a series of harassing actions from her. In May 1943, Barry returned to inform Chaplin that she was pregnant and filed a paternity suit, claiming that the unborn child was his. During the 1944 trial, blood tests proved that Chaplin was not the father, but at the time, blood tests were inadmissible evidence, and he was ordered to pay $75 a week until the child turned 21.
Chaplin also was scrutinized for his support in aiding the Russian struggle against the invading Nazis during World War II, and the United States government questioned his moral and political views, suspecting him of having Communist ties. For this reason, HUAC subpoenaed him in 1947. However, HUAC finally decided that it was no longer necessary for him to appear for testimony. Conversely, when Chaplin and his family traveled to London for the premier of Limelight (1952), he was denied re-entry to the United States. In reality, the government had almost no evidence to prove that he was a threat to national security. Instead, he and his wife decided to settle in Switzerland.
Chaplin was married four times and had a total of 11 children. In 1918, he married Mildred Harris and they had a son together, Norman Spencer Chaplin, who lived only three days. Chaplin and Harris divorced in 1920. He married Lita Grey in 1924, who had two sons, Charles Chaplin Jr. and Sydney Chaplin. They were divorced in 1927. In 1936, Chaplin married Paulette Goddard, and his final marriage was to Oona O'Neill (Oona Chaplin), daughter of playwright Eugene O'Neill in 1943. Oona gave birth to eight children: Geraldine Chaplin, Michael Chaplin, Josephine Chaplin, Victoria Chaplin, Eugene Chaplin, Jane Chaplin, Annette-Emilie Chaplin, and Christopher Chaplin.
In contrast to many of his boisterous characters, Chaplin was a quiet man who kept to himself a great deal. He also had an "un-millionaire" way of living. Even after he had accumulated millions, he continued to live in shabby accommodations. In 1921, Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1972, he was honored with an Academy Award for his "incalculable effect in making motion pictures the art form of the century". He was appointed Knight Commander of the Order of the British Empire in the 1975 New Year's Honours List. No formal reason for the honour was listed. The citation simply reads "Charles Spencer Chaplin, Film Actor and Producer".
Chaplin's other works included musical scores that he composed for many of his films. He also authored two autobiographical books, "My Autobiography" (1964) and its companion volume, "My Life in Pictures" (1974).
Chaplin died at age 88 of natural causes on December 25, 1977 at his home in Vevey, Switzerland. His funeral was a small and private Anglican ceremony according to his wishes. In 1978, Chaplin's corpse was stolen from its grave and was not recovered for three months; he was re-buried in a vault surrounded by cement.
Six of Chaplin's films have been selected for preservation in the National Film Registry by the United States Library of Congress: The Immigrant (1917), The Kid (1921), The Gold Rush (1925), City Lights (1931), Modern Times (1936), and The Great Dictator (1940).
Charlie Chaplin is considered one of the greatest filmmakers in the history of American cinema, whose movies were and still are popular throughout the world and have even gained notoriety as time progresses. His films show, through the Little Tramp's positive outlook on life in a world full of chaos, that the human spirit has and always will remain the same.- Writer
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Lenny Bruce was born Leonard Alfred Schneider on October 13, 1925, in Mineola, Long Island, New York. His British-born father, Myron, was a shoe clerk, his mother, Sadie, was a dancer. Lenny's parents were divorced when he was a child. To support herself and her son, Sadie Schneider pursued a career in show business and sent Lenny to live with various aunts, uncles and grandparents.
Dropping out of high school, Lenny enlisted in the U.S. Navy in 1942, which he almost disliked. He got himself discharged after convincing a team of Navy psychologists that he was experimenting with homosexual urges. With some help from his mother, Lenny began doing impressions, one-liners and movie parodies in small nightclubs. In 1948, he obtained some booking as a result of his appearance on the TV show Arthur Godfrey's Talent Scouts. Lenny married a red-headed stripper named Honey Harlow in 1951, but they were divorced five years later. After Honey was arrested and sent to jail for a narcotics violation, Lenny raised their daughter, Kitty, by himself.
Slowly, Lenny began working his way up from performing stand-up comedy in seedy New York City strip clubs and jazz clubs. Gradually his act evolved into something wholly different from that of other comics. Onstage, he was a dark, slender, and intense figure who prowled around like a caged animal and spoke into a hand-held microphone. His monologues were peppered with four-letter curse words and Yiddish expressions. In his act, Lenny liked to expose racist attitudes by forcing his audiences to examine their own racial prejudices. In another act bashing religions, Lenny acted out a conversation between Oral Roberts and the Pope, with both talking in the vernacular of glib show-business personalities. When jazz critic Ralph J. Gleason and San Francisco Chronicle columnist Herb Caen wrote about Lenny, be began to get the recognition he so badly wanted. Unfortunately, the seedy subculture of strip joints, clubs, and dives had introduced him to hard drugs and fast times.
Through his nightclub acts and record albums, Lenny became the hipster saint of the comedy world, crossing into the line of propriety where others feared to tread. But his foul-speaking acts began to catch up with him when he was arrested in 1961 on obscenity charges following an appearance at the Jazz Workshop in San Francisco, but a jury found him not guilty. Problems with the authorities and religious groups trying to silence him began to plague him as he appeared in clubs all over the country. In 1964, he was arrested again in New York City on more obscenity charges. During his trial a police officer read notes about Lenny's profane act, which caused the desperate comic to ask the judge to let him do the act in court so the judge could understand his callous humor in context, but the judge refused. Despite support from noted writers, critics, educators and politicians, Lenny was found guilty and sentenced to several months in prison, and was paroled just a few months later. Continually harassed by the police, Lenny became depressed and paranoid. Further prosecutions for obscenity and his drug use drove him toward instability. By 1965, he was broke and in debt. He claimed that every time he got a gig, the local police, wherever he was, would threaten to arrest the club owner if Lenny went onstage.
In February 1966, Lenny traveled to Los Angeles and appeared onstage for the first time in years. He performed for a very small crowd who included a few hecklers and vice cops waiting to arrest him if he should use profanity again. Lenny by this time was bearded, overweight, and haggard, and his performance centered on his current obsessions: his constitutional right of free speech, free assembly, and freedom from unreasonable search and seizure. When a friend asked him afterwards why he had turned his back on comedy he replied, "I'm not a comedian anymore. I'm Lenny Bruce." On August 3, 1966, Lenny was found dead on the bathroom floor of his Hollywood home. Whatever the details or reasons why, Lenny Bruce was found dead from a drug overdose at the age of 40.- Music Department
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Comedian, actor, composer and conductor, educated in New York public schools. He was a master of ceremonies in amateur shows, a carnival barker, daredevil driver and a disc jockey, and later a comedian in night clubs. By the mid-1950s he had turned to writing original music and recording a series of popular and best-selling albums with his orchestra for Capitol Records. Joining ASCAP in 1953, his instrumental compositions include "Melancholy Serenade", "Glamour", "Lover's Rhapsody", "On the Beach" and "To a Sleeping Beauty", among numerous others.- Actor
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Jerry Lewis (born March 16, 1926 - August 20, 2017) was an American comedian, actor, singer, film producer, screenwriter and film director. He is known for his slapstick humor in film, television, stage and radio. He was originally paired up with Dean Martin in 1946, forming the famed comedy team of Martin and Lewis. In addition to the duo's popular nightclub work, they starred in a successful series of comedy films for Paramount Pictures. Lewis was also known for his charity fund-raising telethons and position as national chairman for the Muscular Dystrophy Association (MDA). Lewis won several awards for lifetime achievements from The American Comedy Awards, Los Angeles Film Critics Association, and Venice Film Festival, and he had two stars on the Hollywood Walk of Fame. In 2005, he received the Governors Award of the Academy of Television Arts & Sciences Board of Governors, which is the highest Emmy Award presented. On February 22, 2009, the Academy of Motion Picture Arts and Sciences awarded Lewis the Jean Hersholt Humanitarian Award.
Jerry died on August 20, 2017, in Las Vegas.- Actor
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- Soundtrack
Long acknowledged as one of the best "straight men" in the business, Bud Abbott was born William Alexander Abbott in Reading, Pennsylvania to Rae (Fisher) and Harry Abbott, who had both worked for the Barnum and Bailey Circus. When Bud was three his family moved to Asbury Park, New Jersey, which he later, erroneously, listed as his place of birth. He himself worked in carnivals while still a child and dropped out of school in 1909. He worked as assistant treasurer for the Casino Theater in Brooklyn, then as treasurer and/or manager of various theaters around the country. He worked as the straight man to such vaudeville and burlesque comics as Harry Steepe and Harry Evanson while managing the National Theater in Detroit. In 1931 while cashiering at the Brooklyn theater, he substituted for comic Lou Costello's ill straight-man. The two clicked almost immediately and formed their famous comedy team. Throughout the 1930s they worked burlesque, minstrel shows, vaudeville and movie houses. In 1938 they got national exposure through the Kate Smith radio show "The Kate Smith Hour", and signed with Universal Pictures the next year. They made their film debut in One Night in the Tropics (1940), and, while the team wasn't the film's stars, it made money for Universal and they got good enough notices to convince Universal to give them their own picture. Their first starring film, Buck Privates (1941), with The Andrews Sisters, grossed what was then a company-record $10 million (on a $180,000 budget) and they were on their way to stardom and a long run as the most popular comedy team in America. In 1942 they topped a poll of Hollywood stars. They had their own radio show (ABC, 1941-6, NBC, 1946-9) and TV show (The Abbott and Costello Show (1952)). After the war their careers stalled and the box-office takes for their films started slipping. However, they made a big comeback in Abbott and Costello Meet Frankenstein (1948), which raked in huge profits and even got the team good notices from critics who normally wouldn't even review their films. The movie's success convinced Universal to embark on a series of films in which the team met various monsters or found themselves in exotic locations. Their film career eventually petered out and the team split up in 1957. Costello embarked on a series of TV appearances and even made a film, without Abbott, called The 30 Foot Bride of Candy Rock (1959), but it was a flop. He received good notices after a dramatic performance in an episode of Wagon Train (1957) and was in discussion to star in a biography of famed New York City mayor Fiorello LaGuardia, a project Costello had been trying to get off the ground for years, when he died. Both Abbott and Costello had major tax problems with the Internal Revenue Service and wound up virtually broke. Abbott started over with a new partner, Candy Candido, in the 1960s and set off on a national tour, including Las Vegas, but the act failed. In 1966 he voiced his character in a cartoon version of their television show. His health deteriorated badly in the late 1960s, he had always suffered from epilepsy, and he died in 1974.- Actor
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Lou Costello was born Louis Francis Cristillo in Paterson, New Jersey, to Helen (Rege) and Sebastiano Cristillo. His father was from Calabria, Italy, and his mother was an American of Italian, French, and Irish ancestry. Raised in Paterson, Costello dropped out of high school and headed west to break into the movies. He got a job as a carpenter at MGM and Warners. He went from there to stuntman and then to vaudeville as a comic. In 1931, while working in Brooklyn, his straight man became ill and the theater cashier, Bud Abbott, filled in for him. The two formed their famous comedy team and, through the 1930s, they worked burlesque, minstrel shows, vaudeville and movie houses. In 1938 they got national exposure through the Kate Smith Hour radio show, and signed with Universal Pictures the next year. They debuted in One Night in the Tropics (1940). Their scene-stealing performances in that film landed them their own picture the next year, Buck Privates (1941), with The Andrews Sisters. It was a runaway hit, grossing what was then a company record $10 million on a $180,000 budget. In 1942 they topped a poll of Hollywood stars. They had their own radio show (ABC, 1941-46, NBC, 1946-49) and TV show (The Abbott and Costello Show (1952)). After the war their movies shifted formula to one in which they met various monsters or found themselves in exotic locations. The team split up in 1957, with both winding up completely out of money after troubles with the Internal Revenue Service. After that Lou appeared in a few television shows and the movie The 30 Foot Bride of Candy Rock (1959), released a few months after he died.- Music Artist
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Martin was born Dino Paul Crocetti in Steubenville, Ohio, to Gaetano Alfonso "Guy" Crocetti, an Italian immigrant and barber, and his Ohio-born wife, Angela (Barra) Crocetti. He spoke only Italian until age five. Martin came up the hard way, with such jobs as a boxer ("Kid Crochet"), a steel mill worker, a gas station worker and a casino croupier/dealer. In 1946, Martin got his first ticket to stardom, as he teamed up with another hard worker who was also trying to succeed in Hollywood: Jerry Lewis. Films such as At War with the Army (1950) sent the team toward super-stardom. The duo were to become one of Hollywood's truly great teams. They lasted 11 years together, and starred in 16 movies. They were unstoppable, but personality conflicts broke up the team. Even without Lewis, Martin was a true superstar.
Few thought that Martin would go on to achieve solo success, but he did, winning critical acclaim for his role in The Young Lions (1958) with Marlon Brando and Montgomery Clift, and Some Came Running (1958), with Shirley MacLaine and Frank Sinatra. Movies such as Rio Bravo (1959) brought him international fame. One of his best remembered films is in Ocean's Eleven (1960), in which he played Sam Harmon alongside the other members of the legendary Rat Pack: Frank Sinatra, Sammy Davis Jr., Joey Bishop and Peter Lawford. Martin proved potent at the box office through the 1960s, with films such as Bells Are Ringing (1960) and Robin and the 7 Hoods (1964), again with Rat Pack pals Sammy Davis Jr. and Sinatra. During much of the 1960s and 1970s, his film persona of a boozing playboy prompted a series of films as secret agent Matt Helm and his own television variety show. Airport (1970) followed, featuring Martin as a pilot. He played a phony priest in The Cannonball Run (1981).
In 1965, Martin explored a new method for entertaining his fans: Television. That year he hosted one of the most successful TV series in history: The Dean Martin Show (1965), which lasted until 1973. In 1965, it won a Golden Globe Award. In 1973, he renamed it "The Dean Martin Comedy Hour", and from 1974 to 1984 it was renamed again, this time "The Dean Martin Celebrity Roasts". It became one of the most successful TV series in history, skewering such greats as Bob Hope, Frank Sinatra, Lucille Ball, James Stewart, George Burns, Milton Berle, Don Rickles, Phyllis Diller, and Joe Namath.
His last public role was a return to the stage, for a cross-country concert tour with Davis and Sinatra. He spoke affectionately of his fellow Rat Packers. "The satisfaction that I get out of working with these two bums is that we have more laughs than the audience has", Martin said. After the 1980s, Martin took it easy until his son, Dean Paul Martin, was killed in a plane crash in March 1987.
Devastated by the loss, from which he never recovered, he walked out on a reunion tour with Sinatra and Davis. Martin spent his final years in solitude, out of the public light. A heavy smoker most of his life, Martin died on Christmas Day 1995 at age 78 from complications to lung cancer.- Actor
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Comedian Bob Hope was born Leslie Townes Hope in Eltham, London, England, the fifth of seven sons of Avis (Townes), light opera singer, and William Henry Hope, a stonemason from Weston-super-Mare, Somerset. His maternal grandmother was Welsh. Hope moved to Bristol before emigrating with his parents to the USA in 1908. After some years onstage as a dancer and comedian, he made his first film appearance in The Big Broadcast of 1938 (1938) singing "Thanks for the Memory", which became his signature tune.
In partnership with Bing Crosby and Dorothy Lamour, he appeared in the highly successful "Road to ..." comedies (1940-52), and in many others until the early 1970s. During World War II and the Korean and Vietnam wars he spent much time entertaining the troops in the field. For these activities and for his continued contributions to the industry he received five honorary Academy Awards.- Actor
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Mel Blanc, known as "The Man of Thousand Voices" is regarded as the most prolific actor to ever work in Hollywood with over a thousand screen credits. He developed and performed nearly 400 distinct character voices with precision and a uniquely expressive vocal range. The legendary specialist from radio programs, television series, cartoon shorts and movie was rarely seen by his audience but his voice characterizations were famous around the world.
Blanc under exclusive contract until 1960 to Warner Brothers voiced virtually every major character in the Warner Brothers' Looney Tunes and Merry Melodies cartoon pantheon. Characters including Porky Pig, Bugs Bunny, Daffy Duck, Elmer Fudd, Tweety Bird, Sylvester the Cat, Wile E. Coyote,The Roadrunner, Yosemite Sam, Sam the Sheepdog, Taz the Tazmanian Devil, Speedy Gonzales, Marvin the Martian, Foghorn Leghorn, Pepé la Pew, Charlie the Dog, Blacque Jacque Shellacque, Pussyfoot, Private Snafu among others were voiced by Blanc.
After 1960, Blanc continued to work for Warner Brothers but began to work for other companies once his exclusive contract ended. He worked for Hanna-Barbera voicing characters including Barney Rubble, Dino the Dinosaur, Cosmo Spacely, Secret Squirrel, Captain Caveman, Speed Buggy, Wally Gator among others. He provided vocal effects for Tom & Jerry in the mid 1960's working with fellow Warner Bros. alum, Chuck Jones at what would become MGM Animation. In the mid 1960's, Blanc originated and voiced Toucan Sam for the Kellogg's Fruit Loops commercials. He would later go to originate and voice Twiki for Buck Rogers and Heathcliff in the late 1970's and early 1980's.- Actor
- Producer
Noel Blanc was born on 19 October 1938 in Los Angeles, California, USA. He is an actor and producer, known for Tiny Toon Adventures (1990), Family Guy (1999) and Ounce of Prevention (1982). He has been married to Katherine Hushaw since 31 May 1998. He was previously married to Martha Smith and Larraine Zax.- Actress
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Sally Margaret Field was born November 6, 1946 in Pasadena, California, to actress Margaret Field (née Morlan) and salesman Richard Dryden Field. Her parents divorced in 1950 and her mother then married stuntman Jock Mahoney, and they had a daughter, Princess O'Mahoney. She also has a brother, Richard Field. Sally attended Birmingham High School in Van Nuys, California.
Her acting career began in 1965, when she landed the role of Frances Elizabeth 'Gidget' Lawrence in Gidget (1965); it was canceled after only one season because of bad ratings. She went on to star in The Flying Nun (1967), which ran for three seasons. She also appeared in her first film in 1967, The Way West (1967) opposite Kirk Douglas. In the next few years she appeared in numerous TV movies and TV shows such as Maybe I'll Come Home in the Spring (1971), Marriage: Year One (1971), The Girl with Something Extra (1973), and Sybil (1976). In 1977 she starred alongside then-boyfriend Burt Reynolds in the box office hit Smokey and the Bandit (1977), which led to a less successful sequel in 1980. In 1979 she starred in the popular film Norma Rae (1979) and she received her first Oscar for that role.
In the years that followed she starred in films such as Absence of Malice (1981), Kiss Me Goodbye (1982), Places in the Heart (1984) (she received her second Oscar for her role), Murphy's Romance (1985), Punchline (1988) and Steel Magnolias (1989). In 1993 she starred alongside Robin Williams and Pierce Brosnan in the popular comedy Mrs. Doubtfire (1993). A year after, she played the role of Tom Hanks character's mother (even though she's only ten years older than he is in real life) in Forrest Gump (1994). The film was a huge commercial success and won six Academy awards.
Since then she has appeared in TV movies and miniseries such as A Woman of Independent Means (1995), Merry Christmas, George Bailey (1997), From the Earth to the Moon (1998) and David Copperfield (2000). In 2000 she appeared in the film Where the Heart Is (2000) with Natalie Portman and Ashley Judd, and in 2003 she starred alongside Reese Witherspoon in Legally Blonde 2: Red, White & Blonde (2003). She also appeared in 12 episodes of ER (1994) from 2000 to 2006. From 2006 to 2011, she played the role of matriarch Nora Walker in the hit television show Brothers & Sisters (2006), which earned her an Emmy Award for Outstanding Lead Actress in a Drama Series. Getting back into film, she earned her third Oscar nomination for Lincoln (2012) and played Aunt May in The Amazing Spider-Man (2012) and its blockbuster sequel.
Sally has been married twice, first to Steven Craig from 1968 to 1973. They had two sons together, Peter Craig and Eli Craig. Her second marriage was to film producer Alan Greisman from 1984 to 1994. They had one son together, Samuel Greisman. Between marriages, from 1976 to 1980, she was in a relationship with Burt Reynolds.- Born Margaret Morlan, for three decades she was featured in films and television under the name Margaret Field and was the mother of two-time Oscar winner actress Sally Field. During World War II, she moved to Pasadena, California, was discovered by a talent scout, took a screen test and was signed to a contract by Paramount Pictures. She soon started appearing in such films as The Big Clock (1948), Samson and Delilah (1949), the cult classic The Man from Planet X (1951), So This Is Love (1953), Inside Detroit (1956) and many others. For television, she racked up more than 70 credits, appearing in shows including The Lone Ranger (1949), Perry Mason (1957), The Twilight Zone (1959), Wagon Train (1957) and The Virginian (1962), before retiring from acting to focus on her family. She died of cancer at age 89, on her daughter Sally's 65th birthday.
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Mel Brooks was born Melvin Kaminsky on June 28, 1926 in Brooklyn, New York. He served in WWII, and afterwards got a job playing the drums at nightclubs in the Catskills. Brooks eventually started a comedy act and also worked in radio and as Master Entertainer at Grossinger's Resort before going to television.
He was a writer for, Your Show of Shows (1950) Caesar's Hour (1954) and wrote the Broadway show Shinbone Alley. He also worked in the creation of The 2000 Year Old Man (1975) and Get Smart (1965) before embarking on a highly successful film career in writing, acting, producing and directing.
Brooks is famous for the spoofs of different film genres that he made such as Blazing Saddles (1974), History of the World: Part I (1981), Silent Movie (1976), Young Frankenstein (1974), Robin Hood: Men in Tights (1993), High Anxiety (1977), Dracula: Dead and Loving It (1995), and Spaceballs (1987).- The son of a minstrel and circus tightrope walker, Eddie Anderson developed a gravel voice early in life which would become his trademark to fame. He joined his older brother Cornelius as members of "The Three Black Aces" during his vaudeville years, singing for pennies in the hotel lobby. He eventually moved his way up to the Roxy and Apollo theaters in New York, which led to the Los Angeles Cotton Club in the west.
He began to appear in films, typically in servile bits, his best being the featured role of "Noah" in The Green Pastures (1936). He continued in that vein until a chance pairing with comedy star Jack Benny on his radio program in 1937 put him on the map. He only had a bit part on Benny's Easter show as a Pullman porter, but his scratchy voice, superb timing and comic reaction to Benny's banter earned him a fixed spot. He then was heard as Benny's personal valet, Rochester Van Jones, and the role became so popular that he became billed as Eddie "Rochester" Anderson.
In between radio assignments, he found the time to appear in both film drama and comedies, including You Can't Take It with You (1938), Kentucky (1938), Jezebel (1938), and three with Benny - Man About Town (1939), Buck Benny Rides Again (1940) and Love Thy Neighbor (1940). After the films Brewster's Millions (1945) and The Show-Off (1946), Anderson concentrated on his partnership with Jack Benny, following him into television and working with him for a total of 23 years. He returned to the screen for It's a Mad Mad Mad Mad World (1963) but ill health eventually forced him into retirement. He died of long-standing heart problems in 1977. - Actor
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Basil Rathbone was born in Johannesburg, South Africa, in 1892, but three years later his family was forced to flee the country because his father was accused by the Boers of being a British spy at a time when Dutch-British conflicts were leading to the Boer War. The Rathbones escaped to England, where Basil and his two younger siblings, Beatrice and John, were raised. Their mother, Anna Barbara (George), was a violinist, who was born in Grahamstown, South Africa, of British parents, and their father, Edgar Philip Rathbone, was a mining engineer born in Liverpool. From 1906 to 1910 Rathbone attended Repton School, where he was more interested in sports--especially fencing, at which he excelled--than studies, but where he also discovered his interest in the theater. After graduation he planned to pursue acting as a profession, but his father disapproved and suggested that his son try working in business for a year, hoping he would forget about acting. Rathbone accepted his father's suggestion and worked as a clerk for an insurance company--for exactly one year. Then he contacted his cousin Frank Benson, an actor managing a Shakespearean troupe in Stratford-on-Avon.
Rathbone was hired as an actor on the condition that he work his way through the ranks, which he did quite rapidly. Starting in bit parts in 1911, he was playing juvenile leads within two years. In 1915 his career was interrupted by the First World War. During his military service, as a second lieutenant in the Liverpool Scottish 2nd Battalion, he worked in intelligence and received the Military Cross for bravery. In 1919, released from military service, he returned to Stratford-on-Avon and continued with Shakespeare but after a year moved onto the London stage. The year after that he made his first appearance on Broadway and his film debut in the silent Innocent (1921).
For the remainder of the decade Rathbone alternated between the London and New York stages and occasional appearances in films. In 1929 he co-wrote and starred as the title character in a short-running Broadway play called "Judas". Soon afterwards he abandoned his first love, the theater, for a film career. During the 1920s his roles had evolved from the romantic lead to the suave lady-killer to the sinister villain (usually wielding a sword), and Hollywood put him to good use during the 1930s in numerous costume romps, including Captain Blood (1935), David Copperfield (1935), A Tale of Two Cities (1935), Anna Karenina (1935), The Last Days of Pompeii (1935), The Adventures of Robin Hood (1938), Tower of London (1939), The Mark of Zorro (1940) and others. Rathbone earned two Oscar nominations for Best Supporting Actor as Tybalt in Romeo and Juliet (1936) and as King Louis XI in If I Were King (1938).
However, it was in 1939 that Rathbone played his best-known and most popular character, Sherlock Holmes, with Nigel Bruce as Dr. Watson, first in The Hound of the Baskervilles (1939) and then in The Adventures of Sherlock Holmes (1939), which were followed by 12 more films and numerous radio broadcasts over the next seven years.
Feeling that his identification with the character was killing his film career, Rathbone went back to New York and the stage in 1946. The next year he won a Tony Award for his portrayal of Dr. Sloper in the Broadway play "The Heiress," but afterwards found little rewarding stage work. Nevertheless, during the last two decades of his life, Rathbone was a very busy actor, appearing on numerous television shows, primarily drama, variety and game shows; in occasional films, such as Casanova's Big Night (1954), The Court Jester (1955), Tales of Terror (1962) and The Comedy of Terrors (1963); and in his own one-man show, "An Evening with Basil Rathbone", with which he toured the U.S.- Music Artist
- Actor
- Producer
Bing Crosby was born Harry Lillis Crosby, Jr. in Tacoma, Washington, the fourth of seven children of Catherine (Harrigan) and Harry Lincoln Crosby, a brewery bookkeeper. He was of English and Irish descent. Crosby studied law at Gonzaga University in Spokane but was more interested in playing the drums and singing with a local band. Bing and the band's piano player, Al Rinker, left Spokane for Los Angeles in 1925. In the early 1930s Bing's brother Everett sent a record of Bing singing "I Surrender, Dear" to the president of CBS. His live performances from New York were carried over the national radio network for 20 consecutive weeks in 1932. His radio success led Paramount Pictures to include him in The Big Broadcast (1932), a film featuring radio favorites. His songs about not needing a bundle of money to make life happy was the right message for the decade of the Great Depression. His relaxed, low-key style carried over into the series of "Road" comedies he made with pal Bob Hope. He won the best actor Oscar for playing an easygoing priest in Going My Way (1944). He showed that he was indeed an actor as well as a performer when he played an alcoholic actor down on his luck opposite Grace Kelly in The Country Girl (1954). Playing golf was what he liked to do best. He died at age 74 playing golf at a course outside Madrid, Spain, after completing a tour of England that had included a sold-out engagement at the London Palladium.- Actor
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Born in London, Eric Blore came out of college and started his working life as an insurance agent. But while touring in Australia he took an interest in the stage and theater. He gave up his insurance job and turned to acting after returning to England. With his elfish long, straight nose, squint-eyed demeanor and a crisp voice, he successfully began a career starring in many shows and revues, focusing on traditional British comedy. Encouraged further, in 1923 he came to New York and was almost immediately using his London stage experience on Broadway. Though there were a few dramatic parts, he inevitably played comic roles in musical comedies and revues (in some of which he also received billing as a lyricist) regularly from 1923 to 1933. He would return once again some ten years later to take on multiple roles for Ziegfeld Follies of 1943. No stranger to film, as early as 1920 he had tried his hand in British cinema. And in 1926 he did the US silent version of The Great Gatsby (1926) that starred Warner Baxter. His familiar role as a head waiter began with his first Fred Astaire/Ginger Rogers film, Flying Down to Rio (1933). With a foot still on Broadway, in 1933 he played the waiter in the stage version of The Gay Divorcee and was then tapped to reprise the role in the film version with Fred and Ginger. Blore had been perfecting his basic comic characters since his London days -- a leering English gentlemen, brusque/wise-acre butler or waiter or other service provider -- with a lockjawed British accent. These characters accompanied by Blore's flawlessly timed delivery were thoroughly applicable and effective as he moved permanently to Hollywood character acting. He played a fair spectrum of other roles, even in a few rare dramas, such as the adventure The Soldier and the Lady (1937) and Island of Lost Men (1939).
Blore was very busy with movies from 1934 through most of the 1940s. He appeared in five of the nine Fred and Ginger dance musicals. Some of his best mugging and scripted lines were in Top Hat (1935) and Shall We Dance (1937) of that series. He was also cast very effectively as valet/butler Jamison in the screen adaptations of the Wolfe Kaufman Lone Wolf mystery novel series. There were eleven films between 1940 and 1947, with all but the last three starring the dashing, sonorous-voiced Warren William (who had a greater profile than 'The Great Profile', John Barrymore) as Michael Lanyard. This was a popular series with first-rate scripts and good production values to keep the public coming back for more. Blore was also invited into the company of stock players ruled over by zany comedy director Preston Sturges. Though Blore only did two films for Sturges, his role in the first of these, The Lady Eve (1941), was a Blore tour de force. Playing the suave confidence man, Pearly, to his old bunko acquaintances Barbara Stanwyck and Charles Coburn, he took the role of pseudo-wealthy Sir Alfred McGlennan Keith out to fleece the local American business gentry. His scene with a gullible Henry Fonda taking in Sir Alfred's concocted story of Stanwyck's being a twin daughter of the lady of the manor by way of her coachman is a delight, punctuated with Blore interrupting perplexed Fonda's questions with a loud shhhhhhh of silence at each.
Inevitably, the parts started to become less frequent. Several of Blore's 1940s movies were with lesser known up-and-comers or older stars such as himself. Still, he enjoyed a variety of roles, including the opportunity of animation immortality when Disney chose him for the voice of Mr. Toad in the classic short The Wind in the Willows (1949). But for two widely spaced appearances, Blore essentially retired by 1955.
And as sometimes is the case when personalities move into obscurity, their deaths are prematurely announced. Such was the case with Blore when the New Yorker journalist Kenneth Tynan reported him as having already passed on. Blore's lawyer raised a flurry, as did the editor of the New Yorker, who claimed the periodical had never had to print a retraction. The night before the highly profiled retraction appeared, Blore indeed passed away. And the next morning the New Yorker was the only publication with the wrong information. It seems likely Blore would have been particularly tickled with the irony of this last comedic bit in honor of his passing.- Actor
- Soundtrack
J. Pat had a warm smile, twinkling eyes, and an Irish name. He was born in Burnley, England, and began his acting career in British musical halls. J. Pat came to the USA at the outbreak of World War II. He also worked on the Broadway stage during the 1940s and 1950s. J. Pat was a very familiar face on TV sitcoms and dramas for 3 decades, where he played mostly uncle and grandfather types. He made over 100 TV guest appearances, and was in groundbreaking series such as the The Twilight Zone (1959) and The Untouchables (1959). J. Pat performed a lot in radio with his versatile voice work, and he later used his talent in animated cartoons, providing many vocal characterizations. And the children always loved J. Pat the most. Many baby boomers have fond childhood memories of his portrayals in the TV series The Adventures of Spin and Marty (1955) and The New Adventures of Spin and Marty (1957) and of course he played Mr. Harry Burns in My Favorite Martian (1963). J. Pat was a kind and gentle man, who made this world a better place for having been here, and he left his legacy on film.- Actor
- Soundtrack
Claud Allister was born on 3 October 1888 in London, England, UK. He was an actor, known for Bulldog Drummond at Bay (1937), Bulldog Drummond (1929) and The Adventures of Ichabod and Mr. Toad (1949). He was married to Daisy Isabel Douglas Overend (aka Dorothy Overend, actress), Barbara Fay and Gwen Dowling. He died on 26 July 1970 in Santa Barbara, California, USA.- Actress
- Music Department
- Soundtrack
Her real name was Frances "Fanny" Rose Shore, and she was born in Winchester, Tennessee. Stricken with polio at 18 months of age, she recovered after receiving the Sister Kenny treatment. She became a cheerleader at Hume-Fogg High School in Nashville and went on to graduate from Vanderbilt University in 1938, where she majored in sociology. She took voice and acting lessons on the side and sang on radio station WSM in Nashville. In 1938 she left Tennessee for New York City and began singing on radio station WNCW in New York. Her first recordings were with bandleader Xavier Cugat, and she later changed her named to Dinah after her success with the song of the same name. She received numerous Emmy awards for television specials and productions and appeared in many films. She was married to actor George Montgomery, with whom she had one daughter and adopted a son.- Actor
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George Montgomery was boxing champion at the University of Montana where he majored in architecture and interior design. Dropping out a year later he decided to take up boxing more seriously. He moved to California where he was coached by ex-heavyweight world champion James J. Jeffries. While in Hollywood, he came to the attention of the studios (not least, because he was an expert rider) and was hired as a stuntman in 1935. After doing this for four years, George was offered a contract at 20th Century Fox in 1939, but found himself largely confined to leads in B-westerns. He did not secure a part in anything even remotely like a prestige picture until his co-starring role in Roxie Hart (1942), opposite Ginger Rogers. Next, in Orchestra Wives (1942), he played the perfunctory love interest for Ann Rutherford, though both, inevitably, ended up playing second trombone to Glenn Miller and His Orchestra.
In 1947, George got his first serious break, being cast as Raymond Chandler's private eye Philip Marlowe in The Brasher Doubloon (1947). Reviewers, however, compared his performance unfavorably with that of Humphrey Bogart and found the film "pallid" overall. So it was back in the saddle for George. Unable to shake his image as a cowboy actor he starred in scores of films with titles like Belle Starr's Daughter (1948), Dakota Lil (1950), Jack McCall, Desperado (1953), and Masterson of Kansas (1954) at Columbia, and for producer Edward Small at United Artists. When not cleaning up the Wild West with his six-shooter, he branched out into adventure films set in exotic locales (notably as Harry Quartermain in Watusi (1959)). During the 60s, he also wrote, directed and starred in several long-forgotten, low-budget wartime potboilers made in the Philippines.
At the height of his popularity, George attracted as much publicity for his acting as for his liaisons with glamorous stars, like Ginger Rogers, Hedy Lamarr (to whom he was briefly engaged) and singer Dinah Shore (whom he married in 1943). After his retirement from the film business, he devoted himself to his love of painting, furniture-making and sculpting bronze busts, including one of his close friend Ronald Reagan.- Producer
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- Production Manager
The woman who will always be remembered as the crazy, accident-prone, lovable Lucy Ricardo was born Lucille Desiree Ball on August 6, 1911 in Jamestown, New York, the daughter of Desiree Evelyn "DeDe" (Hunt) and Henry Durrell "Had" Ball. Her father died before she was four, and her mother worked several jobs, so she and her younger brother were raised by their grandparents. Always willing to take responsibility for her brother and young cousins, she was a restless teenager who yearned to "make some noise". She entered a dramatic school in New York City, but while her classmate Bette Davis received all the raves, she was sent home; "too shy". She found some work modeling for Hattie Carnegie's and, in 1933, she was chosen to be a "Goldwyn Girl" and appear in the film Roman Scandals (1933).
She was put under contract to RKO Radio Pictures and several small roles, including one in Top Hat (1935), followed. Eventually, she received starring roles in B-pictures and, occasionally, a good role in an A-picture, like in Stage Door (1937) or The Big Street (1942). While filming Too Many Girls (1940), she met and fell madly in love with a young Cuban actor-musician named Desi Arnaz. Despite different personalities, lifestyles, religions and ages (he was six years younger), he fell hard, too, and after a passionate romance, they eloped and were married in November 1940. Lucy soon switched to Metro-Goldwyn-Mayer, where she got better roles in films such as Du Barry Was a Lady (1943); Best Foot Forward (1943) and the Katharine Hepburn-Spencer Tracy vehicle Without Love (1945). In 1948, she took a starring role in the radio comedy "My Favorite Husband", in which she played the scatterbrained wife of a Midwestern banker. In 1950, CBS came knocking with the offer of turning it into a television series. After convincing the network brass to let Desi play her husband and to sign over the rights to and creative control over the series to them, work began on the most popular and universally beloved sitcom of all time.
With I Love Lucy (1951), she and Desi promoted the 3-camera technique now the standard in filming sitcoms using 35mm film (the earliest known example of the 3-camera technique is the first Russian feature film, "Defence of Sevastopol" in 1911). Desi syndicated I Love Lucy. Lucille Ball was the first woman to own her own studio as the head of Desilu Productions.
Lucille Ball died at Cedars-Sinai Medical Center, age 77, of an acute aortic aneurysm on April 26, 1989 in Los Angeles, CA.- Producer
- Writer
- Music Department
Merv Griffin was a singer and band leader, movie actor, television personality and media mogul who in his time hosting The Merv Griffin Show (1962) was second in fame and influence as a talk show host only to Johnny Carson. Griffin was best known for creating the two most popular game shows in television syndication history, Wheel of Fortune (1983) and Jeopardy! (1984), which are watched by hundreds of millions of people all over the world. In the business world, he was identified as the visionary chairman of The Griffin Group.
Born in the San Francisco, California suburb of San Mateo, Griffin "came up through the ranks" in the classic sense, entering talent contests, writing songs, singing on local radio station KFRC-San Francisco, and later touring with Freddy Martin Orchestra. He became increasingly popular with nightclub audiences and his fame soared among the general public when he struck gold in 1950 with "I've Got a Lovely Bunch of Coconuts", which reached the number one spot on the Hit Parade and sold three million copies.
Continuing to record hits, including "Wilhelmina" and "Never Been Kissed", Griffin made a foray into motion pictures after Doris Day saw his nightclub performance and arranged a screen test for him at Warner Bros. Studios. While under contract at Warner Bros., he appeared in a number of hit movies, including So This Is Love (1953) with Kathryn Grayson and The Boy from Oklahoma (1954) with Will Rogers Jr., and Lon Chaney Jr..
Television then discovered him. As a regular performer on The Arthur Murray Party (1950), The Tonight Show Starring Jack Paar (1957) and others, he was offered the opportunity to host his own television series, Play Your Hunch (1958). It was during this period that he conceived the idea for what was to become one of the most successful game shows in television history, Jeopardy! (1964). But it was in 1962 that his career took its most dramatic turn. He became a substitute host for Jack Paar on The Tonight Show Starring Jack Paar (1957) and scored some of the highest ratings in the show's history. As a result, NBC gave him his own hour-long daytime talk show program, The Merv Griffin Show (1962).
Griffin's name and talk show career will always be seen in the light of that of Johnny Carson, the "King of late night TV", with whom Griffin directly competed on CBS from 1969 to 1972. Griffin's first daytime talk show began on the same day Carson first hosted The Tonight Show (1962). While Carson's style was indebted to his long apprenticeship in Los Angeles in the 1950s, Griffin was based in New York, where he socialized with New York's theater and café crowds. Griffin's approach to television talk was influenced by two New York shows, David Susskind's The David Susskind Show (1958) and Mike Wallace's Probe and Night Beat (1956), and like Susskind and Wallace, he openly embraced controversial subjects. In 1965, Griffin was criticized as a "traitor" when he aired a special from London in which Nobel Prize-winning philosopher Bertrand Russell denounced the Vietnam War.
Despite his success on daytime television, it was late night that was The Holy Grail for talk show hosts. In 1969, CBS hired Griffin to directly compete with Carson in the 11:30 PM to 1:00 AM time slot that had proven a grave yard for other personalities. Not one to shy away from controversy, Griffin began to be harassed by CBS censors who objected to the antiwar statements of his guests and ordered him to feature pro-war guests for balance. "The irony of the situation wasn't wasted on me", Griffin recalls in his autobiography. "In 1965, I'm called a traitor by the press for presenting Bertrand Russell, and, four years later, we are hard-pressed to find anybody to speak in favor of the Vietnam War".
In March 1970, CBS censors pixilated antiwar activist Abbie Hoffman because he was wearing a shirt that resembled an American flag. The resulting blurred image meant that Hoffman's voice emanated from a "jumble of lines". CBS also pressured Griffin into sacking his long-term sidekick Arthur Treacher, who had been his television mentor, because he was too old. The censorship did not boost the ratings for Griffin, who was facing stiff competition from the genial Carson, who himself was criticized during the era for shying away from controversial subjects.
In 1972, a fed-up Griffin negotiated a syndication deal with Metromedia to move his talk show back to the daytime, and in the event he was terminated by CBS. The deal was signed in secret as a penalty clause in his CBS contract gave him $1 million in the event of his being fired. Later that year, CBS terminated Griffin's late-night talk show and Griffin immediately made the transition to Metromedia's syndicated network.
While Griffin may have been a washout in late night television (and he had LOTS of company - EVERYONE who went up against Carson lost the ratings race, and Johnny always came out the victor), Griffin's impact on daytime was immense, specifically through his production of game shows. An avid fan of puzzles since childhood, Griffin first produced a successful game show in 1964, Jeopardy! (1964) for NBC. After 13 seasons as a daytime talk show host, Griffin retired from his talk show in 1986 to devote himself to producing his highly profitable game shows.
Jeopardy! (2002) remains the second highest rated game show in television syndication while Wheel of Fortune (1983) continues to be the longest running game show to hold the number one spot in television syndication history. Other Griffin successes in the game show field included "One in a Million" and Joe Garagiola's Memory Game (1971), both airing on ABC, Let's Play Post Office on NBC, and Reach for the Stars (1967).
In 1986, Griffin sold his production company, Merv Griffin Enterprises, to Coca-Cola's Columbia Pictures Television unit for $250 million as well as a continuing share of the profits of the shows. At that time, the transaction represented the largest acquisition of an entertainment company owned by a single individual. Subsequently, Sony Pictures Entertainment purchased Columbia and he retains the title of executive producer of both "Wheel of Fortune" and "Jeopardy!" (for which he still creates puzzles and questions.) He served as Executive Producer of "Men Are From Mars, Women Are From Venus" (2000).
After his retirement from daytime chat, Merv became a real estate baron, acquiring the Beverly Hilton Hotel in Beverly Hills, which is now the venue of choice for virtually all of the Tinseltown's most high profile events such as The Golden Globe Awards, The Soap Opera Digest Awards, and The American Film Institute's Lifetime Achievement Awards. He also owns the Hilton Scottsdale Resort and Villas in Arizona, and St. Clerans Manor, an 18th century estate once owned by director John Huston which is located near Galway, the premier resort destination in Ireland.
In January 1998, Griffin opened The Coconut Club, one of the country's hottest swing/dance clubs, at his Beverly Hilton Hotel. This weekend venue, fashioned after Hollywood's famed Coconut Grove (where Griffin headlined as a boy singer with The Freddy Martin Orchestra) features live Big Bands, Swing Orchestras, and Rock Bands amidst a glamorous nightclub setting.
He was honored with the prestigious 1994 Broadcasting and Cable "Hall of Fame" Award, alongside such figures as Diane Sawyer and Dan Rather. Winner of 15 Emmy Awards, Griffin was presented an Outstanding Game/Audience Participation Show Emmy for 1993-1994 as executive producer of Jeopardy! (1984) He had also been the recipient of the coveted Scopus Award from the American Friends of Hebrew University, "The Duke Award" presented by the John Wayne Cancer Institute, and he had been honored by the American Ireland Fund and the SHARE organization. He was Lifetime Honorary Festival Chairman of La Quinta Arts Festival and recently donated his Wickenburg Inn and Dude Ranch to Childhelp USA.
In March 2001, the Gold Label released his new CD, "It's Like a Dream", for which he composed the title song. Among his private passions are his family, son Tony Griffin, daughter-in-law Tricia, and grandchildren Farah and Donovan Mervyn, his long-haired sharpei dog Charlie Chan, his La Quinta ranch near Carmel, where he raises thoroughbred racing horses, and his 135 foot, four-story high ocean going yacht, Griff. Merv Griffin died at age 82 of prostate cancer in Los Angeles, California on August 12, 2007.- Actor
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- Soundtrack
Edgar Bergen was born on 16 February 1903 in Chicago, Illinois, USA. He was an actor and writer, known for Fun and Fancy Free (1947), The Muppet Movie (1979) and Letter of Introduction (1938). He was married to Frances Bergen. He died on 30 September 1978 in Las Vegas, Nevada, USA.- Actress
- Soundtrack
The daughter of William and Lillie Mae Westerman, her father died of tuberculosis when she was ten years old. Her mother then moved the family to Los Angeles.
She suffered a skull fracture in an auto accident when she was 14. While recuperating, she was given a Charlie McCarthy doll to cheer her up. Little did she know she'd later marry Charlie McCarthy creator, famous comedian and ventriloquist, Edgar Bergen.
Graduated from Los Angeles High School, where she was a pom-pom girl. At 19, Frances was in the audience of Edgar Bergen's radio program as the guest of a member of his staff. Sitting in the front row, her long legs caught the attention of the 39-year-old star, who asked to meet her. They were married in Mexico after a year of long distance courtship.- Actress
- Producer
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One cool, eternally classy lady, Candice Bergen was elegantly poised for trendy "ice princess" stardom when she first arrived on the '60s screen, but she gradually reshaped that débutante image in the '70s, both on- and off-camera. A staunch, outspoken feminist with a decisive edge, she went on to take a sizable portion of those contradicting qualities to film and, most particularly, to late 1980s TV.
The daughter of famed ventriloquist Edgar Bergen and former actress and "Chesterfield Girl" model Frances Bergen (née Westerman), Candice Patricia Bergen was born in Beverly Hills, California, of Swedish, German, and English descent. At the age of six, she made her radio debut on her father's show. She attended Westlake School for Girls in Los Angeles, the Cathedral School in Washington D.C. and then went abroad to the Montesano (finishing) School in Switzerland. Although she began taking art history and creative drawing at the University of Pennsylvania, she did not complete her studies.
In between she also worked as a Ford model in order to buy cameras for her new passion--photography. Her Grace Kelly-like glacial beauty deemed her an ideal candidate for Ivy League patrician roles, and Candice made an auspicious film debut while still a college student portraying the Vassar-styled lesbian member of Sidney Lumet's The Group (1966) in an ensemble that included the debuts of other lovely up-and-comers including Kathleen Widdoes, Carrie Nye, Joan Hackett and Joanna Pettet.
Film offers started coming her way, both here and abroad (spurred by her love for travel). Other than her top-notch roles as the co-ed who comes between Jack Nicholson and Art Garfunkel in Carnal Knowledge (1971) and her prim American lady kidnapped by Moroccan sheik Sean Connery in The Wind and the Lion (1975), her performances were deemed a bit too aloof to really stand out among the crowd. During this time, she found a passionate second career as a photographer and photojournalist. A number of her works went on to appear in an assortment of magazines including Life, Playboy and Esquire.
Most of Candice's 1970s films were dismissible and unworthy of her talents, including the campus comedy Getting Straight (1970) opposite the hip counterculture star of the era -- Elliott Gould; the disturbingly violent Soldier Blue (1970); the epic-sized bomb The Adventurers (1970); T.R. Baskin (1971); Bite the Bullet (1975); The Domino Principle (1977), Lina Wertmüller's long-winded and notoriously long-titled Italian drama A Night Full of Rain (1978); and the inferior sequel to the huge box-office soaper Love Story (1970), entitled Oliver's Story (1978) alongside original star Ryan O'Neal. Things picked up toward the second half of the decade, however, when the seemingly humorless Candice made a clever swipe at comedy. She made history as the first female guest host of Saturday Night Live (1975) and then showed an equally amusing side of her in the dramedy Starting Over (1979) as Burt Reynolds' tone-deaf ex-wife, enjoying a "best supporting actress" Oscar nomination in the process. She and Jacqueline Bisset also worked well as a team in George Cukor's Rich and Famous (1981), in which her mother Frances could be glimpsed in a Malibu party scene.
Candice made her Broadway debut in 1985 replacing Sigourney Weaver in David Rabe's black comedy "Hurlyburly". In 1980 Candice married Louis Malle, the older (by 14 years) French director. They had one child, Chloe. In the late 1980s, Candice hit a new career plateau on comedy television as the spiky title role on Murphy Brown (1988), giving great gripe as the cynical and competitive anchor/reporter of a TV magazine show. With a superlative supporting cast around her, the CBS sitcom went the distance (ten seasons) and earned Candice a whopping five Emmys and two Golden Globe awards. TV-movie roles also came her way as a result with colorful roles ranging from the evil Arthurian temptress "Morgan Le Fey" to an elite, high-classed madam -- all many moons away from her initial white-gloved debs of the late 60s.
Husband Malle's illness and subsequent death from cancer in 1995 resulted in Candice maintaining a low profile for an extended period. In time, however, she married a second time (since 2000) to Manhattan real estate developer Marshall Rose and returned to acting with a renewed vigor (or vinegar), with many of her characters enjoyable extensions of her sardonic "Murphy Brown" character. As for TV, she joined the 2005 cast of Boston Legal (2004) playing a brash, no-nonsense lawyer while trading barbs with a much less serious William Shatner, earning an Emmy nomination in the process. In 2018, Candice revisited her Murphy Brown character in a revised series form with many of the cast back on board. The show, however, was cancelled after only one season.
Candice also ventured into the romantic comedy film genre with a spray of crisp supports -- sometimes as a confidante, sometimes as a villain. Such films include Miss Congeniality (2000), Sweet Home Alabama (2002), The In-Laws (2003), Sex and the City (2008), The Women (2008), Bride Wars (2009), A Merry Friggin' Christmas (2014), Rules Don't Apply (2016), The Meyerowitz Stories (2017), Home Again (2017) and Book Club (2018).- Actor
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Born Paul Wilchinsky on December 21, 1922, the son of Sol and Clara Wilchinsky, Paul Winchell grew up to be the most beloved ventriloquist of American children. Ironically, as famous as Paul was, his dummy, Jerry Mahoney, was probably more famous. Not since Edgar Bergen and Charlie McCarthy in the previous two decades had a ventriloquist and his dummy known equal celebrity.
Entering the spotlight on the Edward Bowes "Original Amateur Hour" (1948), he began working soon after in a review show in which Major Bowes would showcase the winners of his radio program. He started his television career on the CBS program The Bigelow Show (1948) in 1948; The Paul Winchell Show (1950), originally called "The Spiedel Show," in 1950; and, finally, the best-known of his shows Winchell-Mahoney Time (1965). With a clubhouse premise, his dummies Jerry Mahoney and Knucklehead Smiff--another of Paul's characters--as the clubhouse leaders, and the music of the bandleader Milton Delugg. A new innovation of Winchell's was to replace the dummy's hands with those of puppeteers who were hidden behind the dummies in a crate. Winch also played many serous dramatic roles on television without his dummy sidekicks.
What may be even more famous is that he created the voice of Tigger for the Walt Disney Company's "Winnie The Pooh" motion-picture series, based on the famous books by A.A. Milne. He played the role behind the scenes until 1999, when he was replaced by Jim Cummings, who also voiced Pooh from the time that Sterling Holloway died. He was also the voice of many other world-famous cartoon characters.
A little-known fact about Winchell is that he was one of the original inventors of an artificial heart--years before the first successful transplant with such of a device--an automobile that runs on battery power, a method for breeding tilapia, and many other inventions that are still around today.- Producer
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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.- Actress
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Born as Vivian Roberta Jones in Cherryvale, Kansas, she had a brother and four sisters. Her family moved to Independence, Kansas, and later studied drama under Anna Ingleman and William Inge. Their next move, to Albuquerque, New Mexico, brought her to that city's Little Theatre, which provided her the money she needed to study under Eva Le Gallienne in New York. After arriving in 1932 she had trouble finding stage work until she began a two-year stint in Jerome Kern and Oscar Hammerstein's "Music in the Air".
She next understudied Ethel Merman in the hit "Anything Goes." Her first starring role was as Kay Thompson's last minute replacement in "Hooray for What!", starring Ed Wynn. In 1945, while starring in a touring company of "Voice of the Turtle" she had a nervous breakdown. After undergoing psychotherapy and limited movie work, she returned to the play at the La Jolla (California) Playhouse, where she was seen by Desi Arnaz who decided she was perfect for the role of Ethel Mertz (Ball and Arnaz's first choice, Bea Benaderet, was unavailable) in the I Love Lucy (1951) television series.
At first she didn't want the part (too frumpy), and hated being cast as the wife of William Frawley (she was 42, he was 64, and the two never got along). Frawley, an alcoholic and on the professional skids had actively campaigned for the role of Fred Mertz after learning that Gale Gordon was also unavailable. Desi Arnaz hired him, but only under strict conditions regarding alcohol consumption and professionalism. The runaway success of the series forced the two to work together but Frawley never forgave Vance for a comment she made about the disparity in their ages, which he overheard. After I Love Lucy (1951) ended she divorced her third husband, married again to John Dodds, and they moved to Stamford, Connecticut, the first time she had lived east of the Mississippi (aside from work) in many years.
In 1962, she began work on The Lucy Show (1962), but the pressures of long-distance commuting didn't suit her, so after three years she limited her herself to guest appearances. In 1974, she and her husband moved to Belvedere, California (just north of San Francisco Bay) so she could be near her sister. She battled ill-health throughout much of the 1970s and died in 1979, aged 70, of breast and bone cancer.- Actor
- Soundtrack
William Frawley was born in Burlington, Iowa. As a boy he sang at St. Paul's Catholic Church and played at the Burlington Opera House. His first job was as a stenographer for the Union Pacific Railroad. He did vaudeville with his brother Paul, then joined pianist Franz Rath in an act they took to San Francisco in 1910. Four years later he formed a light comedy act with his new wife Edna Louise Broedt, "Frawley and Louise", touring the Orpheum and Keith circuits until they divorced in 1927. He next moved to Broadway and then, in 1932, to Hollywood with Paramount. By 1951, when he contacted Lucille Ball about a part in her TV show I Love Lucy (1951), he had performed in over 100 films. His Fred Mertz role lasted until the show ended in 1960, after which he did a five-year stint on My Three Sons (1960). Poor health forced his retirement. He collapsed of a heart attack on March 3, 1966, aged 79, walking along Hollywood Boulevard after seeing a movie. He is buried in San Fernando Mission Cemetery.- Actor
- Director
- Additional Crew
José Ferrer was a Puerto Rican actor and film director. He won an Academy Award for Best Actor for playing the title character in Cyrano de Bergerac (1950). Ferrer was the first Puerto Rican actor to win an Academy Award, and also the first Hispanic actor to win an Academy Award.
In 1912, Ferrer was born is San Juan, the capital city of Puerto Rico. Established as a Spanish colonial city in 1521, San Juan is the third oldest European-established capital city in the Americas, following Santo Domingo (established in 1496) and Panama City (established in 1521). Ferrer's father was Rafael Ferrer, a lawyer and author who was born and raised in San Juan. Ferrer's mother was María Providencia Cintrón, a native of the coastal town of Yabucoa. Ferrer's paternal grandfather was Dr. Gabriel Ferrer Hernández, who had campaigned for Puerto Rican independence from the Spanish Empire.
The Ferrer family moved to New York City in 1914, when José was 2-years-old. As a school student, Ferrer was educated abroad at the Institut Le Rosey, a prestigious boarding school located in Rolle, Switzerland. In 1933, Ferrer was enrolled at Princeton University, located in Princeton, New Jersey. He studied architecture, and wrote a senior thesis about French Naturalism and the literary works of Spanish naturalist writer Emilia Pardo Bazán (1851-1921). In 1934, Ferrer transferred to Columbia University, where he studied Romance languages.
In 1934, while still a college student, Ferrer made his theatrical debut in Long Island-based theatre. In 1935, he was hired as the stage manager at the Suffern Country Playhouse. Later in 1935, Ferrer made his Broadway debut in the comedy play "A Slight Case of Murder" by Damon Runyon (1880-1946) and Howard Lindsay (1889-1968). This stage production of the play ran for 69 performances, with Ferrer appearing in all of them.
Ferrer's major success as a Broadway actor was performing in the play "Brother Rat" by John Monks Jr. (1910-2004) and Fred F. Finklehoffe (1910-1977). The play had a ran of 577 performances from 1936 to 1938. Among his subsequent theatrical appearances, the most successful were staged productions of Mamba's Daughters (1938), which ran for 163 performances, and "Charley's Aunt" (1940-1941), which ran for 233 performances. His role in "Charley's Aunt" required him to perform in drag, for the first time in his career.
Ferrer had one of the greatest theatrical successes of his career when playing the villainous Iago in a Broadway production of "Othello' by William Shakespeare. The production had a ran of 296 performances, lasting from 1943 to 1944. Ferrer played his most famous role as the historical figure of Cyrano de Bergerac (1619-1655) in the 1946-1947 Broadway season. For this role, Ferrer won the 1947 Tony Award for Best Actor in a Play.
Ferrer made his film debut in the Technicolor epic "Joan of Arc" (1948). He played the historical monarch Charles VII of France (1403-1461, reigned 1422-1461), the ruler who Joan of Arc served during the Hundred Years' War. For his debut role, Ferrer was nominated for the Academy Award for Best Supporting Actor. The Award was instead won by rival actor Walter Huston (1883-1950).
Ferrer's success as a film actor, helped him gain more film roles in Hollywood-produced films. He played the "smooth-talking hypnotist David Korvo" in the film noir "Whirlpool" (1949), and dictator Raoul Farrago in the film noir "Crisis". He had a career highlight with a film adaptation of the play "Cyrano de Bergerac", where he played the title role. For this role, he won the Academy Award for Best Actor.
His next critically successful role was that of artist Henri de Toulouse-Lautrec (1864-1901) in the historical drama "Moulin Rouge" (1952). For this role, Ferrer was again nominated for the Academy Award for Best Actor. The award was instead won by rival actor Gary Cooper (1901-1961). The film also marked a financial success for Ferrer, who received 40% of the film's profits.
Ferrer also appeared in other box office hits of the 1950s, such as the musical "Miss Sadie Thompson" (1953), the Navy-themed drama "The Caine Mutiny" (1954), and the biographical film "Deep in My Heart" (1954). Ferrer was also interested in becoming a film director. He made his directing debut with the film noir "The Shrike" (1955). His subsequent directing efforts included war film "The Cockleshell Heroes" (1955), the film noir "The Great Man" (1956), the biographical film I Accuse! (1958), and the comedy film "The High Cost of Loving" (1958). While still critically well-received, several of these films were box office flops. He took a hiatus from films productions.
Ferrer attempted a comeback as a film director with the sequel film "Return to Peyton Place" (1961) and the musical film "State Fair" (1962). Both films were box office flops. As an actor, Ferrer had a supporting role as a Turkish Bey in the historical drama "Lawrence of Arabia" (1962). While a relatively minor role, Ferrer considered the finest role of his film career.
In television, Ferrer gained a notable role as the narrator in the pilot episode of the hit sitcom "Bewitched" (1964-1972). In films, Ferrer started playing mostly supporting roles. He briefly returned to the role of Cyrano de Bergerac in the French adventure film "Cyrano and d'Artagnan". He had another notable role as a historical monarch, playing Herod Antipas, Tetrarch of Galilee and Perea (reigned 4 BC-39 AD) in the Biblical epic "The Greatest Story Ever Told" (1965).
Ferrer had his first notable role as a voice actor, playing the villain Ben Haramed in the Rankin/Bass Christmas "The Little Drummer Boy" (1968). But at this time, he started having legal troubles. The Internal Revenue Service (IRS) accused Ferrer of still owing unpaid taxes since 1962.
Ferrer had many film roles in the 1970s, but no outstanding highlights. As a voice actor, he voiced Cyrano de Bergerac in an episode of "The ABC Afterschool Special". In the 1980s, Ferrer played a monarch again, playing Padishah Emperor Shaddam IV in the science fiction film "Dune". The film was an adaptation of the 1965 novel "Dune" by Frank Herbert (1920-1986), and Shaddam was one of the film's villains. This was among the last notable roles of Ferrer's long career.
Ferred retired from acting entirely in 1991, due to increasing health problems. His last theatrical performance was a production of the generation-gap drama "Conversations with My Father". Ferrer died in 1992, due to colorectal cancer. He was 80-years-old. He died in Coral Gables, Florida, but was buried in the Santa María Magdalena de Pazzis Cemetery of Old San Juan, Puerto Rico. Several of his children had acting careers of their own.- Actress
- Writer
- Music Department
She was the daughter of Andrew and Frances Clooney and grew up in Maysville, Kentucky, where she and her sister Betty Clooney used to sing in her grandfather's mayoral election campaigns, which he won three times. She made her singing debut on Cincinnati radio station WLW in 1941 at 13. On WLW she worked with band leader Barney Rapp, who had also worked with Doris Day and Andy Williams at the same station. She attended high school at Our Lady of Mercy in Cincinnati. In 1946 she appeared with her sister in Atlantic City, New Jersey, at the Steel Pier with Tony Pastor's band. In 1949 she went solo and later appeared in White Christmas (1954), co-starring opposite Bing Crosby and Danny Kaye. Her first big hit was "Come On A My House" in 1951. She married José Ferrer in 1953 and they had five children between 1955 and 1960. Her marriage to Ferrer was a tempestuous one and she had a nervous breakdown in 1968, but went on to resume her career in 1976. Her life was dramatized in a 1982 made-for-television movie starring Sondra Locke, who was actually just 16 years Rosemary's junior but constantly lied about her age.
Her son Gabriel is married to singer Debby Boone, daughter of 1950s pop singer Pat Boone. Her brother, Nick Clooney, was an ABC news anchor in Cincinnati, and her nephew George Clooney has developed into one of the biggest movie stars of the 21st century. In 1968 she was standing in the Ambassdor Hotel in Los Angeles with Roosevelt Grier when Robert F. Kennedy was assassinated in the hotel kitchen after she had participated in his campaign rally. Her top hits include "Hey There" in 1954, "Tenderly", "This Ole House" and "Half As Much" in 1952.