Cloris Leachman, who would have turned 95 on April 30, was already a seasoned performer before her impressive streak in film and television began in the early 1970s. In 1972, she pulled off a rare feat: She won the best supporting actress Oscar for Peter Bogdanovich’s “The Last Picture Show,” in a finely-drawn dramatic performance, and was nominated for an Emmy in comedy supporting actress for her role as the nutty Phyllis on CBS’ “The Mary Tyler Moore Show.”
The longtime stage, big screen and TV actress was in her mid-forties when two of her most memorable roles came along, followed just a few years later by her hilarious Frau Blücher in “Young Frankenstein,” for which she received a Golden Globe comedy acting nomination.
Bogdanovich recalled casting Leachman in “Last Picture Show” after her death in January. When she first entered the room, he said, he thought she seemed wrong for the part.
The longtime stage, big screen and TV actress was in her mid-forties when two of her most memorable roles came along, followed just a few years later by her hilarious Frau Blücher in “Young Frankenstein,” for which she received a Golden Globe comedy acting nomination.
Bogdanovich recalled casting Leachman in “Last Picture Show” after her death in January. When she first entered the room, he said, he thought she seemed wrong for the part.
- 4/30/2021
- by Pat Saperstein
- Variety Film + TV
With readers turning to their home viewing options more than ever, this daily feature provides one new movie each day worth checking out on a major streaming platform.
[Editor’s note: This post contains some spoilers for the Netflix series “Hollywood.”]
At the conclusion of Ryan Murphy’s latest limited series, the fluffy revisionist history “Hollywood,” one of its central stars gets her due, ascending to the highest echelon of movie stardom and getting a permanent title to match: Oscar winner. In reality, actress Anna May Wong never won an Oscar, despite being hailed as Hollywood’s first Chinese American movie star and appearing in a variety of productions (from silent films to even television) over the span of her decades-long career.
For viewers interested in the true histories of the Hollywood stars and industry brass portrayed in Murphy’s discomfitting and often immature rose-colored glasses, the reality of Wong and her career is a bitter pill to swallow. At the same time,...
[Editor’s note: This post contains some spoilers for the Netflix series “Hollywood.”]
At the conclusion of Ryan Murphy’s latest limited series, the fluffy revisionist history “Hollywood,” one of its central stars gets her due, ascending to the highest echelon of movie stardom and getting a permanent title to match: Oscar winner. In reality, actress Anna May Wong never won an Oscar, despite being hailed as Hollywood’s first Chinese American movie star and appearing in a variety of productions (from silent films to even television) over the span of her decades-long career.
For viewers interested in the true histories of the Hollywood stars and industry brass portrayed in Murphy’s discomfitting and often immature rose-colored glasses, the reality of Wong and her career is a bitter pill to swallow. At the same time,...
- 5/4/2020
- by Kate Erbland
- Indiewire
Eva Tanguay, “The I Don’t Care Girl” "The I Don’t Care Girl" Eva Tanguay, "shimmy" dancer Gilda Gray, female impersonators Bert Savoy and Jay Brennan, male impersonator Kitty Doner, "freak" acts. Was vaudeville considered something "obscene" or "indecent" — or was bourgeois society receptive to such shows? [See previous post: Vaudeville History pt.2: Male Impersonator Kitty Doner.] To a large extent, vaudevillians got away with whatever they could get away with. How risque one might be depended upon the vaudeville house and its owner. E.F. Albee (grandfather of Edward Albee) ran the largest vaudeville circuit (the B.F. Keith and later Keith-Albee circuit) and he [...]...
- 7/5/2012
- by Andre Soares
- Alt Film Guide
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