Frank D Gilroy, playwright, screenwriter, director and author, has passed away at the age of 89.
The writer died of natural causes at his home on Saturday night, according to a statement released by his publicist Cynthia Swartz (via The Wrap).
Frank achieved his first big success with the play The Subject Was Roses, which won the playwright a Pulitzer Prize, a Tony Award and a Drama Circle honour.
The play was later adapted into a film starring Martin Sheen, Patricia Neal and Jack Albertson in 1968 and received two Oscar nominations, with Albertson winning the Best Supporting Actor award.
Among his other filmmaking credits, Frank wrote 1956's The Fastest Gun Alive starring Glenn Ford, as well as The Only Game in Town which featured Elizabeth Taylor and Warren Beatty in 1969.
Frank's sons followed their father into Hollywood, with Tony being the screenwriter behind the Matt Damon-starring Bourne films, and Dan...
The writer died of natural causes at his home on Saturday night, according to a statement released by his publicist Cynthia Swartz (via The Wrap).
Frank achieved his first big success with the play The Subject Was Roses, which won the playwright a Pulitzer Prize, a Tony Award and a Drama Circle honour.
The play was later adapted into a film starring Martin Sheen, Patricia Neal and Jack Albertson in 1968 and received two Oscar nominations, with Albertson winning the Best Supporting Actor award.
Among his other filmmaking credits, Frank wrote 1956's The Fastest Gun Alive starring Glenn Ford, as well as The Only Game in Town which featured Elizabeth Taylor and Warren Beatty in 1969.
Frank's sons followed their father into Hollywood, with Tony being the screenwriter behind the Matt Damon-starring Bourne films, and Dan...
- 9/13/2015
- Digital Spy
Frank Gilroy, playwright, screenwriter, director and author, has passed away at the age of 89.
The writer died of natural causes at his home on Saturday night, according to a statement released by his publicist Cynthia Swartz (via The Wrap).
Gilroy achieved his first big success with the play The Subject Was Roses, which won the playwright a Pulitzer Prize, a Tony Award and a Drama Circle honour.
The play was later adapted into a film starring Martin Sheen, Patricia Neal and Jack Albertson in 1968 and received two Oscar nominations, with Albertson winning the Best Supporting Actor award.
Among his other filmmaking credits, Gilroy wrote 1956's The Fastest Gun Alive starring Glenn Ford, as well as The Only Game in Town which featured Elizabeth Taylor and Warren Beatty in 1969.
Gilroy's sons followed their father into Hollywood, with Tony being the screenwriter behind the Matt Damon-starring Bourne films, and Dan directing Jake Gyllenhaal in 2014's Nightcrawler.
The writer died of natural causes at his home on Saturday night, according to a statement released by his publicist Cynthia Swartz (via The Wrap).
Gilroy achieved his first big success with the play The Subject Was Roses, which won the playwright a Pulitzer Prize, a Tony Award and a Drama Circle honour.
The play was later adapted into a film starring Martin Sheen, Patricia Neal and Jack Albertson in 1968 and received two Oscar nominations, with Albertson winning the Best Supporting Actor award.
Among his other filmmaking credits, Gilroy wrote 1956's The Fastest Gun Alive starring Glenn Ford, as well as The Only Game in Town which featured Elizabeth Taylor and Warren Beatty in 1969.
Gilroy's sons followed their father into Hollywood, with Tony being the screenwriter behind the Matt Damon-starring Bourne films, and Dan directing Jake Gyllenhaal in 2014's Nightcrawler.
- 9/13/2015
- Digital Spy
Jeanne Crain: Lighthearted movies vs. real life tragedies (photo: Madeleine Carroll and Jeanne Crain in ‘The Fan’) (See also: "Jeanne Crain: From ‘Pinky’ Inanity to ‘Margie’ Magic.") Unlike her characters in Margie, Home in Indiana, State Fair, Centennial Summer, The Fan, and Cheaper by the Dozen (and its sequel, Belles on Their Toes), or even in the more complex A Letter to Three Wives and People Will Talk, Jeanne Crain didn’t find a romantic Happy Ending in real life. In the mid-’50s, Crain accused her husband, former minor actor Paul Brooks aka Paul Brinkman, of infidelity, of living off her earnings, and of brutally beating her. The couple reportedly were never divorced because of their Catholic faith. (And at least in the ’60s, unlike the humanistic, progressive-thinking Margie, Crain was a “conservative” Republican who supported Richard Nixon.) In the early ’90s, she lost two of her...
- 8/26/2013
- by Andre Soares
- Alt Film Guide
Jeanne Crain: From Pinky to Margie Jeanne Crain, one of the most charming Hollywood actresses of the ’40s and ’50s, is Turner Classic Movies’ "Summer Under the Stars" featured player on Monday, August 26, 2013. Since Jeanne Crain was a top 20th Century Fox star for about a decade — a favorite of Fox mogul Darryl F. Zanuck — TCM will be showing quite a few films from the Fox library. And that’s great news. (Photo: Jeanne Crain ca. 1950.) (See also: “Jeanne Crain Movies: TCM’s ‘Summer Under the Stars’ Schedule.”) Now, my first recommendation is actually an MGM release. That’s Russell Rouse’s 1956 psychological Western The Fastest Gun Alive, an unusual movie in that the hero turns out to be a "coward" at heart: quick-on-the-trigger gunslinger Glenn Ford is reluctant to face an evil challenger (Broderick Crawford) in a small Western town. But why? Jeanne Crain is his serious-minded wife...
- 8/26/2013
- by Andre Soares
- Alt Film Guide
The Western was a movie staple for decades. It seemed the genre that would never die, feeding the fantasies of one generation after another of young boys who galloped around their backyards, playgrounds, and brick streets on broomsticks, banging away with their Mattel cap pistols. Something about a man on a horse set against the boundless wastes of Monument Valley, the crackle of saddle leather, two men facing off in a dusty street under the noon sun connected with the free spirit in every kid.
The American movie – a celluloid telling that was more than a skit – was born in a Western: Edwin S. Porter’s 11- minute The Great Train Robbery (1903). Thereafter, Westerns grew longer, they grew more complex. The West – hostile, endless, civilization barely maintaining a toehold against the elements, hostile natives, and robber barons – proved an infinitely plastic setting. In a place with no law, and where...
The American movie – a celluloid telling that was more than a skit – was born in a Western: Edwin S. Porter’s 11- minute The Great Train Robbery (1903). Thereafter, Westerns grew longer, they grew more complex. The West – hostile, endless, civilization barely maintaining a toehold against the elements, hostile natives, and robber barons – proved an infinitely plastic setting. In a place with no law, and where...
- 1/3/2013
- by Bill Mesce
- SoundOnSight
By most accounts, Harry Cohn was a royal son of a bitch.
For the uninformed, Harry Cohn was co-founder of Columbia Pictures, and the autocratic ruler of the studio from its founding in 1919 until his death in 1958. He was vulgar, crass, tyrannical, a screaming, foul-mouthed verbal bully i.e. a royal son of a bitch.
He was also a cheap son of a bitch.
Originally considered a “Poverty Row” studio, Cohn’s Columbia – at least at first – refused to build a roster of salaried stars as the other studios did. Cohn didn’t want the overhead or the headaches he saw saddling other studio chiefs with their contract talent. Cheaper and easier was to pay those studios a flat fee for the one-time use of their marquee value stars to give Columbia’s B-budgeted flicks an A-list shine. Columbia was considered such a nickel-and-dime outfit at the time that other...
For the uninformed, Harry Cohn was co-founder of Columbia Pictures, and the autocratic ruler of the studio from its founding in 1919 until his death in 1958. He was vulgar, crass, tyrannical, a screaming, foul-mouthed verbal bully i.e. a royal son of a bitch.
He was also a cheap son of a bitch.
Originally considered a “Poverty Row” studio, Cohn’s Columbia – at least at first – refused to build a roster of salaried stars as the other studios did. Cohn didn’t want the overhead or the headaches he saw saddling other studio chiefs with their contract talent. Cheaper and easier was to pay those studios a flat fee for the one-time use of their marquee value stars to give Columbia’s B-budgeted flicks an A-list shine. Columbia was considered such a nickel-and-dime outfit at the time that other...
- 6/22/2011
- by Bill Mesce
- SoundOnSight
Jeanne Crain was one of 20th Century Fox's biggest stars of the 1940s and early 1950s — one who led a tragic life, not at all like her charmed (and charming) on-screen characters. Crain is also Turner Classic Movies "star of the evening" tonight, Jan. 7. I've always had a soft spot for Jeanne Crain. Anything she's in, I'd recommend. But the movies TCM is showing tonight would be worthwhile even if I weren't a major Crain fan. Russell Rouse's The Fastest Gun Alive (1956) is currently on. A little-known Western released by MGM, this "minor" effort is one of my all-time favorites in that genre. If Fred Zinnemann's High Noon was subversive (and it was), The Fastest Gun Alive subverts High Noon's premise a bit further: here, the hero who saves the day is what many (not me) would call a "coward" — he's terrified of gun duels even though...
- 1/8/2011
- by Andre Soares
- Alt Film Guide
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