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- Actor
- Producer
- Writer
Robert Mitchum was an underrated American leading man of enormous ability, who sublimated his talents beneath an air of disinterest. He was born in Bridgeport, Connecticut, to Ann Harriet (Gunderson), a Norwegian immigrant, and James Thomas Mitchum, a shipyard/railroad worker. His father died in a train accident when he was two, and Robert and his siblings (including brother John Mitchum, later also an actor) were raised by his mother and stepfather (a British army major) in Connecticut, New York, and Delaware. An early contempt for authority led to discipline problems, and Mitchum spent good portions of his teen years adventuring on the open road. He later claimed that on one of these trips, at the age of 14, he was charged with vagrancy and sentenced to a Georgia chain gang, from which he escaped. Working a wide variety of jobs (including ghostwriter for astrologist Carroll Righter), Mitchum discovered acting in a Long Beach, California, amateur theater company. He worked at Lockheed Aircraft, where job stress caused him to suffer temporary blindness. About this time he began to obtain small roles in films, appearing in dozens within a very brief time. In 1945, he was cast as Lt. Walker in Story of G.I. Joe (1945) and received an Oscar nomination as Best Supporting Actor. His star ascended rapidly, and he became an icon of 1940s film noir, though equally adept at westerns and romantic dramas. His apparently lazy style and seen-it-all demeanor proved highly attractive to men and women, and by the 1950s, he was a true superstar despite a brief prison term for marijuana usage in 1949, which seemed to enhance rather than diminish his "bad boy" appeal. Though seemingly dismissive of "art," he worked in tremendously artistically thoughtful projects such as Charles Laughton's The Night of the Hunter (1955) and even co-wrote and composed an oratorio produced at the Hollywood Bowl by Orson Welles. A master of accents and seemingly unconcerned about his star image, he played in both forgettable and unforgettable films with unswerving nonchalance, leading many to overlook the prodigious talent he can bring to a project that he finds compelling. He moved into television in the 1980s as his film opportunities diminished, winning new fans with The Winds of War (1983) and War and Remembrance (1988). His sons James Mitchum and Christopher Mitchum are actors, as is his grandson Bentley Mitchum. His last film was James Dean: Race with Destiny (1997) with Casper Van Dien as James Dean.- Actor
- Producer
- Soundtrack
Ernest Borgnine was born Ermes Effron Borgnino on January 24, 1917 in Hamden, Connecticut. His parents were Anna (Boselli), who had emigrated from Carpi (MO), Italy, and Camillo Borgnino, who had emigrated from Ottiglio (AL), Italy. As an only child, Ernest enjoyed most sports, especially boxing, but took no real interest in acting. At age 18, after graduating from high school in New Haven, and undecided about his future career, he joined the United States Navy, where he stayed for ten years until leaving in 1945. After a few factory jobs, his mother suggested that his forceful personality could make him suitable for a career in acting, and Borgnine promptly enrolled at the Randall School of Drama in Hartford. After completing the course, he joined Robert Porterfield's famous Barter Theatre in Abingdon, Virginia, staying there for four years, undertaking odd jobs and playing every type of role imaginable. His big break came in 1949, when he made his acting debut on Broadway playing a male nurse in "Harvey".
In 1951, Borgnine moved to Los Angeles to pursue a movie career, and made his film debut as Bill Street in The Whistle at Eaton Falls (1951). His career took off in 1953 when he was cast in the role of Sergeant "Fatso" Judson in From Here to Eternity (1953). This memorable performance led to numerous supporting roles as "heavies" in a steady string of dramas and westerns. He played against type in 1955 by securing the lead role of Marty Piletti, a shy and sensitive butcher, in Marty (1955). He won an Academy Award for Best Actor for his performance, despite strong competition from Spencer Tracy, Frank Sinatra, James Dean and James Cagney. Throughout the 1950s, 1960s and 1970s, Borgnine performed memorably in such films as The Catered Affair (1956), Ice Station Zebra (1968) and Emperor of the North (1973). Between 1962 and 1966, he played Lt. Commander Quinton McHale in the popular television series McHale's Navy (1962). In early 1984, he returned to television as Dominic Santini in the action series Airwolf (1984) co-starring Jan-Michael Vincent, and in 1995, he was cast in the comedy series The Single Guy (1995) as doorman Manny Cordoba. He also appeared in several made-for-TV movies.
Ernest Borgnine has often stated that acting was his greatest passion. His amazing 61-year career (1951 - 2012) included appearances in well over 100 feature films and as a regular in three television series, as well as voice-overs in animated films such as All Dogs Go to Heaven 2 (1996), Small Soldiers (1998), and a continued role in the series SpongeBob SquarePants (1999). Between 1973 until his death, Ernest was married to Tova Traesnaes, who heads her own cosmetics company. They lived in Beverly Hills, California, where Ernest assisted his wife between film projects. When not acting, Ernest actively supported numerous charities and spoke tirelessly at benefits throughout the country. He has been awarded several honorary doctorates from colleges across the United States as well as numerous Lifetime Achievement Awards. In 1996, Ernest purchased a bus and traveled across the United States to see the country and meet his many fans. On December 17, 1999, he presented the University of North Alabama with a collection of scripts from his film and television career, due to his long friendship with North Alabama alumnus and actor George Lindsey (died May 6, 2012), who was an artist in residence at North Alabama.
Ernest Borgnine passed away aged 95 on July 8, 2012, at Cedars-Sinai Medical Center in Los Angeles, California, of renal failure. He is survived by his wife Tova, their children and his younger sister Evelyn (1926-2013)- Actor
- Production Manager
- Director
Born Raymond William Stacy Burr on 21 May 1917 in New Westminster, British Columbia, Burr spent most of his early life traveling. As a youngster, his father moved his family to China, where the elder Burr worked as a trade agent. When the family returned to Canada, Raymond's parents separated. He and his mother moved to Vallejo, California, where she raised him with the aid of her parents. As he got older, Burr began to take jobs to support his mother, younger sister and younger brother. He took jobs as a ranch hand in Roswell, New Mexico; as a deputy sheriff; a photo salesman; and even as a singer in nightclubs. In World War II, Burr served in the United States Navy. In Okinawa, he was shot in the stomach and sent home. In 1946, Burr made his film debut in San Quentin (1946). From there, he appeared in more than 90 films before landing the role of defense attorney Perry Mason (1957). After a battle with cancer, Burr died at age 76 on September 12, 1993 at his ranch home in Sonoma, California.- Music Artist
- Actor
- Producer
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.- Veteran little old man Italian character actor Leonardo Anthony Cimino steadily worked in both movies and TV shows alike from the late 1950's up until 2007. Cimino was born on November 4, 1917 in New York City. He was the son of tailor Andrea Cimino and his wife Leonilda. Leonardo played violin as a child and studied at Juilliard as a teenager. Moreover, Cimino studied acting, directing, and modern dance at the Neighborhood Playhouse School of the Theater. A small, frail, and wizened fellow with a gaunt face, a slight build, and a distinguished air about him, Leonardo often portrayed shrewd Mafioso types, nice elderly gents, and various men of the cloth which include priests, cardinals, and even the Pope in "Monsignor." Cimino twice played Nazi concentration camp survivors: He was outstanding as the wise Abraham Bernstein in the excellent science fiction TV mini-series "V" and likewise marvelous as the kindly Scary German Guy in the delightful "The Monster Squad." Leonardo had a nice bit as the Baron's doctor in David Lynch's "Dune." Among the TV shows Cimino did guest spots on are "Naked City," "The Defenders," "Kojak," "Ryan's Hope," "The Equalizer," "The Hunger," and "Law and Order." Outside of movies and television, Leonardo acted on stage in such plays as "The Iceman Cometh," "They Knew What They Wanted," "A Memory of Two Mondays," "Mike Downstairs," "Night Life," "A Passage to India," "Handful of Fire," "The Liar," and "Cyrano de Bergerac." Cimino died at age 94 at his home in Woodstock, New York on March 3, 2012.
- Actress
- Soundtrack
Undoubtedly the woman who had come to epitomize what we recognize today as "celebrity," Zsa Zsa Gabor, is better known for her many marriages, personal appearances, her "dahlink" catchphrase, her actions, gossip, and quotations on men, rather than her film career.
Zsa Zsa was born as Sári Gabor on February 6, 1917 in Budapest, Hungary, to Jolie Gabor (née Janka Tilleman) and Vilmos Gabor (born Farkas Miklós Grün), both of Jewish descent. Her siblings were Eva Gabor and Magda Gabor. Zsa Zsa studied at a Swiss finishing school, was second runner-up in the fifth Miss Hungary pageant, and began her stage career in Vienna in 1934. In 1941, the year she obtained her first divorce, she followed younger sister Eva to Hollywood.
A radiant, beautiful blonde, Zsa Zsa began to appear on television series and occasional films. Her first film was at Metro-Goldwyn-Mayer in Lovely to Look At (1952), co-starring Kathryn Grayson and Red Skelton. She next made a comedy called We're Not Married! (1952) at 20th Century Fox with Ginger Rogers. It was far from a star billing; she appeared several names down the cast as a supporting actress. But in 1952 she broke into films big time with her starring role opposite José Ferrer in Moulin Rouge (1952), although it has been said that throughout filming, director John Huston gave her a very difficult time.
In the following years, Zsa Zsa slipped back into supporting roles in films such as Lili (1953) and 3 Ring Circus (1954). Her main period of film work was in the 1950s, with other roles in Death of a Scoundrel (1956), with Yvonne De Carlo, and The Man Who Wouldn't Talk (1958) with Anna Neagle; again, these were supporting roles. By the 1960s, Zsa Zsa was appearing more as herself in films. She now appeared to follow her own persona around, and cameo appearances were the order of the day in films such as Pepe (1960) and Jack of Diamonds (1967). This continued throughout the 1970s.
She was memorable as herself in The Naked Gun 2½: The Smell of Fear (1991), in which she humorously poked fun at a 1989 incident where she was convicted of slapping a police officer (Paul Kramer) during a traffic stop. She spent three days in jail and had to do 120 hours of community service. Such infamous incidents contributed to her becoming one of the most all-time recognizable of Hollywood celebrities, and sometimes ridiculed as a result. She was also memorable to British television viewers on The Ruby Wax Show (1997).
In 2002, Gabor was reported to be in a coma in a Los Angeles hospital after a horrifying car accident. The 85-year-old star was injured when the car she was traveling in hit a utility pole in West Hollywood, California. The reports about her coma eventually proved to be inaccurate.
Zsa Zsa's life, spanning two continents, nine husbands, and 11 decades, came to an end on December 18, 2016, when she died of cardiac arrest in Los Angeles, California. She was 99.- Actress
- Writer
- Producer
Jane Wyman was born Sarah Jane Mayfield on January 5, 1917, in St. Joseph, Missouri (she was also known later as Sarah Jane Fulks). When she was only eight years old, and after her parents filed for divorce, she lost her father prematurely. After graduating high school she attempted, with the help of her mother, to break into films, but to no avail. In 1935, after attending the University of Missouri, she began a career as a radio singer, which led to her first name change to Jane Durrell. In 1936 she signed a contract with Warner Bros. Pictures and that led to another name change, the more familiar one of Jane Wyman. Under that name she appeared in "A" and "B" pictures at Warners, including two with her future husband, Ronald Reagan: Brother Rat (1938) and its sequel, Brother Rat and a Baby (1940). In the early 1940s she moved into comedies and melodramas and gained attention for her role as Ray Milland's long-suffering girlfriend in The Lost Weekend (1945). The following year she was nominated for a Best Actress Oscar for her role as Ma Baxter in The Yearling (1946), and won the coveted prize in 1949 as deaf-mute rape victim Belinda MacDonald in Johnny Belinda (1948). She followed that with a number of appearances in more prestigious films, such as Alfred Hitchcock's Stage Fright (1950), Frank Capra's Here Comes the Groom (1951), Michael Curtiz's The Story of Will Rogers (1952) and the first movie version of The Glass Menagerie (1950). She starred opposite Bing Crosby in the musical Just for You (1952). She was Oscar-nominated for her performances in The Blue Veil (1951) and Magnificent Obsession (1954). She also starred in the immensely popular So Big (1953), Lucy Gallant (1955), All That Heaven Allows (1955) and Miracle in the Rain (1956). In addition to her extensive film career, she hosted TV's Jane Wyman Presents the Fireside Theatre (1955) and starred in most of the episodes of the show, which ran for three seasons. She came back to the big screen in Holiday for Lovers (1959), Pollyanna (1960) and her final film, How to Commit Marriage (1969). Although off the big screen, she became a presence on the small screen and starred in two made-for-TV movies, including The Incredible Journey of Doctor Meg Laurel (1979). In early 1981, in the 49th year of her career, she won the role of conniving matriarch Angela Channing Erikson Stavros Agretti in the movie "The Vintage Years", which was the unaired pilot for the prime-time soap opera Falcon Crest (1981), later in the year. For nine seasons she played that character in a way that virtually no other actress could have done, and became the moral center of the show. The show was a ratings winner from its debut in 1981, and made stars out of her fellow cast members Robert Foxworth, Lorenzo Lamas, Abby Dalton and Susan Sullivan. At the end of the first season the story line had her being informed that her evil son, played by David Selby, had inherited 50% of a California newspaper company, and the conflicts inherent in that situation led to even bigger ratings over the next five years. Wyman was nominated six times for a Soap Opera Digest Award, and in 1984 she won the Golden Globe for Best Performance by an Actress in a TV Series Drama. By the show's eighth season, however, she was emotionally drained and the strain of constantly working to keep up the quality of a hit show took its toll on her. In addition, there was friction on the set among cast members. All of these events culminated in her departure from the show after the first two episodes of the ninth season (her character was hospitalized and slipped into a coma) for health reasons. After a period of recuperation, she believed that she had recovered enough to guest-star in the last three episodes of the season (her doctor disagreed, but she did it anyway). She then guest-starred as Jane Seymour's mother on Dr. Quinn, Medicine Woman (1993) and three years later appeared in Wild Bill: Hollywood Maverick (1995). In the late 1990s she purchased a home in Rancho Mirage, California, where she lived in retirement. Her daughter, Maureen Reagan (who died in August 2001), was a writer who also involved herself in political issues and organized a powerful foundation. Also, she placed her 3200-sq.-ft. Rancho Mirage condominium on the market. Jane Wyman died at the age of 90, at her Palm Springs, California home, on September 10, 2007, having long suffered from arthritis and diabetes. It was reported that Wyman died in her sleep of natural causes at the Rancho Mirage Country Club.- Actress
- Soundtrack
Susan Hayward was born Edythe Marrener in Brooklyn, New York, on June 30, 1917. Her father was a transportation worker, and Susan lived a fairly comfortable life as a child, but the precocious little redhead had no idea of the life that awaited her. She attended public school in Brooklyn, where she graduated from a commercial high school that was intended to give students a marketable skill. She had planned on becoming a secretary, but her plans changed. She started doing some modeling work for photographers in the NYC area. By 1937, her beauty in full bloom, she went to Hollywood when the nationwide search was on for someone to play the role of Scarlett O'Hara in Margaret Mitchell's Gone with the Wind (1939). Although she--along with several hundred other aspiring Scarletts--lost out to Vivien Leigh, Susan was to carve her own signature in Hollywood circles. In 1937 she got a bit part in Hollywood Hotel (1937). The bit parts continued all through 1938, with Susan playing, among other things, a coed, a telephone operator and an aspiring actress. She wasn't happy with these bit parts, but she also realized she had to "pay her dues". In 1939 she finally landed a part with substance, playing Isobel Rivers in the hit action film Beau Geste (1939). In 1941 she played Millie Perkins in the offbeat thriller Among the Living (1941). This quirky little film showed Hollywood Susan's considerable dramatic qualities for the first time. She then played a Southern belle in Cecil B. DeMille's Reap the Wild Wind (1942), one of the director's bigger successes, and once again showed her mettle as an actress. Following that movie she starred with Paulette Goddard and Fred MacMurray in The Forest Rangers (1942), playing tough gal Tana Mason. Although such films as Jack London (1943), And Now Tomorrow (1944) and Deadline at Dawn (1946) continued to showcase her talent, she still hadn't gotten the meaty role she craved. In 1947, however, she did, and received the first of five Academy Award nominations, this one for her portrayal of Angelica Evans in Smash-Up: The Story of a Woman (1947). She played the part to the hilt and many thought she would take home the Oscar, but she lost out to Loretta Young for The Farmer's Daughter (1947). In 1949 Susan was nominated again for My Foolish Heart (1949) and again was up against stiff competition, but once more her hopes were dashed when Olivia de Havilland won for The Heiress (1949). Now, however, with two Oscar nominations under her belt, Susan was a force to be reckoned with. Good scripts finally started to come her way and she chose carefully because she wanted to appear in good quality productions. Her caution paid off, as she garnered yet a third nomination in 1953 for With a Song in My Heart (1952). Later that year she starred as Rachel Donaldson Robards Jackson in The President's Lady (1953). She was superb as Andrew Jackson's embittered wife, who dies before he was able to take office as President of the United States. After her fourth Academy Award nomination for I'll Cry Tomorrow (1955), Susan began to wonder if she would ever take home the coveted gold statue. She didn't have much longer to wait, though. In 1958 she gave the performance of her lifetime as real-life California killer Barbara Graham in I Want to Live! (1958), who was convicted of murder and sentenced to death in the gas chamber. Susan was absolutely riveting in her portrayal of the doomed woman. Many film buffs consider it to be one of the finest performances of all time, and this time she was not only nominated for Best Actress, but won. After that role she appeared in about one movie a year. In 1972 she made her last theatrical film, The Revengers (1972). She had been diagnosed with cancer, and the disease finally claimed her life on March 14, 1975, in Hollywood. She was 57.- Actress
- Soundtrack
Meg Wyllie was born on 15 February 1917 in Honolulu, Territory of Hawaii, USA [now Hawaii, USA]. She was an actress, known for The Last Starfighter (1984), Marnie (1964) and Dragnet (1987). She died on 1 January 2002 in Glendale, California, USA.- Actress
- Producer
- Soundtrack
Born Joan de Beauvoir de Havilland on October 22, 1917, in Tokyo, Japan, in what was known as the International Settlement, to British parents, Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her paternal grandfather's family was from Guernsey in the Channel Islands. Her father had a lucrative practice in Japan, but due to Joan and older sister Olivia de Havilland's recurring ailments the family moved to California in the hopes of improving their health. Mrs. de Havilland and the two girls settled in Saratoga while their father went back to his practice in Japan. Joan's parents did not get along well and divorced soon afterward. Mrs. de Havilland had a desire to be an actress but her dreams were curtailed when she married, but now she hoped to pass on her dream to Olivia and Joan. While Olivia pursued a stage career, Joan went back to Tokyo, where she attended the American School. In 1934 she came back to California, where her sister was already making a name for herself on the stage. Joan likewise joined a theater group in San Jose and then Los Angeles to try her luck there. After moving to L.A., Joan adopted the name of Joan Burfield because she didn't want to infringe upon Olivia, who was using the family surname.
She tested at MGM and gained a small role in No More Ladies (1935), but she was scarcely noticed and Joan was idle for a year and a half. During this time she roomed with Olivia, who was having much more success in films. In 1937, this time calling herself Joan Fontaine, she landed a better role as Trudy Olson in You Can't Beat Love (1937) and then an uncredited part in Quality Street (1937). Although the next two years saw her in better roles, she still yearned for something better. In 1940 she garnered her first Academy Award nomination for Rebecca (1940). Although she thought she should have won, (she lost out to Ginger Rogers in Kitty Foyle (1940)), she was now an established member of the Hollywood set. She would again be Oscar-nominated for her role as Lina McLaidlaw Aysgarth in Suspicion (1941), and this time she won. Joan was making one film a year but choosing her roles well. In 1942 she starred in the well-received This Above All (1942).
The following year she appeared in The Constant Nymph (1943). Once again she was nominated for the Oscar, she lost out to Jennifer Jones in The Song of Bernadette (1943). By now it was safe to say she was more famous than her older sister and more fine films followed. In 1948, she accepted second billing to Bing Crosby in The Emperor Waltz (1948). Joan took the year of 1949 off before coming back in 1950 with September Affair (1950) and Born to Be Bad (1950). In 1951 she starred in Paramount's Darling, How Could You! (1951), which turned out badly for both her and the studio and more weak productions followed.
Absent from the big screen for a while, she took parts in television and dinner theaters. She also starred in many well-produced Broadway plays such as Forty Carats and The Lion in Winter. Her last appearance on the big screen was The Witches (1966) and her final appearance before the cameras was Good King Wenceslas (1994). She is, without a doubt, a lasting movie icon.- Actor
- Soundtrack
David Tomlinson is best known for his role as George Banks in Walt Disney's Mary Poppins (1964). As a youth he spent a short spell in the guards. He joined the RAF in WW2 where he survived the trauma of a plane crash on his first solo flight due to engine failure, then becoming a flying instructor for the remainder of the war. He began his film career in the pre-war British film Quiet Wedding (1941) and followed that with Leslie Howard's 'Pimpernel' Smith (1941). Altogether he has made over 50 films and on stage he has had long-running successes in many plays including "The Little Hut" with Robert Morley and Roger Moore as his understudy. During the 1930s he understudied Alec Guinness. By the time he went to Hollywood to make Mary Poppins (1964) he was a veteran film and stage actor. David returned to Disney to great success in The Love Bug (1969) and Bedknobs and Broomsticks (1971). David was close friends with Errol Flynn, Robert Morley and Peter Sellers. He also spent time with Walt Disney whilst they discussed his role in Mary Poppins (1964). He retired in the early 1980s after an exemplary career on film and stage, and will always be remembered as one of the centuries greatest character actors.- Actor
- Director
- Producer
Richard Allen Boone was born in Los Angeles, California, to Cecile Lillian (Beckerman) and Kirk Etna Boone, a wealthy corporate lawyer. His maternal grandparents were Russian Jewish immigrants, while his father was descended from a brother of frontiersmen Daniel Boone and Squire Boone.
Richard was a college student, boxer, painter and oil-field laborer before ending up in the U.S. Navy during World War II. After the war he used the G.I. Bill to study acting with the Actor's Studio in New York. Serious and methodical, Boone debuted on Broadway in the play "Medea". Other plays followed, as did occasional TV work. In 1950 20th Century-Fox signed him to a contract and he made his screen debut in Halls of Montezuma (1951), playing a Marine Corps officer. Tall and craggy, Boone was continually cast in a number of war and western movies. He also tackled roles such as Pontius Pilate in The Robe (1953) and a police detective in Vicki (1953). In 1954 he was cast as Dr. Konrad Styner in the pioneering medical series Medic (1954), which was a critical but not a ratings success. This role lasted for two years, though in the meantime, he continued to appear in westerns and war movies.
In 1957 he played Dr. Wright, who treats Elizabeth for her memory lapses, in Lizzie (1957). It was also in that year that Boone was cast in what is his best-known role, the cultured gunfighter Paladin in the highly regarded western series Have Gun - Will Travel (1957). Although a gun for hire, Paladin was usually a moral one, did the job and lived at the Hotel Carlton in San Francisco. Immensely popular, the show made Boone a star. The series lasted six years, and in addition to starring in it, Boone also directed some episodes. He still kept busy on the big screen during the series' run, appearing as Sam Houston in the John Wayne epic The Alamo (1960), and as a weary cavalry captain fighting Indians in A Thunder of Drums (1961). After Have Gun - Will Travel (1957) ended in 1963, Boone hosted a dramatic anthology series, The Richard Boone Show (1963), but it was not successful.
Boone moved to Hawaii for the next seven years. During this time he made a few Westerns, including the muscular Rio Conchos (1964), but he was largely absent from the screen. In the 1970s he moved to Florida, and resumed his film and TV career with a vengeance. In 1972 he again appeared on television in the Jack Webb-produced series Hec Ramsey (1972) (years before he had played a police captain in Webb's first "Dragnet" film, Dragnet (1954)). Based on a real man, Hec was a tough, grizzled old frontier sheriff at the turn of the 20th century who, late in life, has studied the newest scientific theories of crime detection. His new boss, a much younger man, doesn't always approve of Hec, his nonconformist style or his new methods. The series lasted for two years. Boone continued working until the end of the decade but died as a result of throat cancer in 1981.- Producer
- Actor
- Production Manager
Desiderio Alberto Arnaz y de Acha III was born in Santiago, Cuba on March 2, 1917. His father was the mayor of Santiago. The 1933 revolution led by Fulgencio Batista had landed his father in jail and stripped the family of its wealth, property and power. His father was released because of the intercession of U.S. officials who believed him to be neutral during the revolt. The family fled to Miami, Florida. One of Desi's first jobs in America consisted of cleaning canary cages. However, after forming his own small band of musicians, he was hired by Xavier Cugat, the "king" of Latin music.
Desi soon left Cugat, formed his own Latin band, and literally launched the conga craze in America. He was cast in the Broadway play "Too Many Girls" and then brought to Hollywood to make the film version of the play. It was on the set of Too Many Girls (1940) that he and Lucille Ball met. They soon married and approximately 10 years later formed Desilu Productions and began the I Love Lucy (1951) shows. Desi and Lucille had two children, Lucie Arnaz and Desi Arnaz Jr.. At the end of the I Love Lucy (1951) run, which included The Lucy-Desi Comedy Hour (1957), the two divorced. Desi later wrote an autobiography entitled "A Book." In 1986 he was diagnosed with lung cancer. He died on December 2, 1986 at age 69.- Actor
- Soundtrack
Dabbs Greer was a very familiar face in films and especially on TV. He was a sort of "everyman" in his roles and played merchants, preachers, businessmen, and other "pillars of the community" types as well as assorted villains. With his plain looking face, wavy hair and mellow, distinctive voice he was a solid supporting actor. He was born on April 2, 1917, in Fairview, Missouri, but reared in Anderson, Missouri. He was the only child of a pharmacist father and a speech therapist mother. His first acting experience was on stage in a children's theatre production when he was eight years old. He attended Drury College in Springfield, Missouri, where he earned a BA and headed the drama department and Little Theatre in Mountain Grove, Missouri, from 1940-43. He then moved on to the famed Pasadena Playhouse in California as actor, instructor and administrator from 1943-50. He made his film debut in Reign of Terror (1949) (aka "The Black Book") in an uncredited bit part and went on to appear in many parts during the next 50 years. He is probably best remembered for his role as Rev. Alden on Little House on the Prairie (1974) but he was also a regular on the TV series Gunsmoke (1955) as a merchant, Mr. Jonas; Hank (1965) as Coach Ossie Weiss and Picket Fences (1992) as Rev. Henry Novotny. He also appeared in made-for-TV movies and guest-starred on such series as Adventures of Superman (1952); The Rifleman (1958); Wanted: Dead or Alive (1958); Trackdown (1957); Perry Mason (1957); Bonanza (1959); The Fugitive (1963) and The Brady Bunch (1969).- Actress
- Make-Up Department
- Soundtrack
Diller put out an autobiography in 2005 in her late 80s, and entitled it "Like a Lampshade in a Whorehouse", which pretty much says it all when recalling the misfit life and career of the fabulous, one-of-a-kind Phyllis Diller. It may inspire all those bored, discouraged and/or directionless housewives out there to know that the one-time 37-year-old chief bottle washer and diaper disposer of five started out writing comedy routines for her fellow female laundry mates as a sort of reprieve from what she considered her everyday household doldrums. Little did she know she would wind up an entertainment legend who would share the biggest comedy stages with the likes of Bob Hope, George Burns and Jack Benny.
They said it couldn't be done back then (to be a successful lady comic, that is) but the doyenne of female stand-up did just that -- opened the doors for other odd-duck funny girls who dared to intrude on what was considered a man's profession. Initially, the comedienne whipped up an alter-ego that could have only been created with the aid of hallucinogens. Boldly facing the world as a scrawny, witchy-faced, flyaway haired, outlandishly costumed, cigarette-holding, magpie-cackling version of "Auntie Mame", Diller made a virtue out of her weird looks and cashed in on her wifely horror tales and her own idiosyncratic tendencies. Her solid fan base has been thriving now for over five decades.
She was born Phyllis Ada Driver on July 17, 1917 in Lima, Ohio to Perry Marcus and Frances Ada (Romshe) Driver. A student at Lima's Central High School, she went on to study for three years at the Sherwood Music Conservatory in Chicago, before transferring to Bluffton (Ohio) College where she served as the editor of the school's more humorous newspaper articles. She was a serious student of the piano but was never completely confident enough in her performance level to try and act on it as a possible career.
She wed Sherwood Anderson Diller at age 22 in November 1939 and had six children (one of whom died in infancy). On the sly, she was an advertising copywriter. During World War II, the family moved to Michigan where her husband had found work at the Willow Run Bomber Plant. A natural laugh-getter, she began writing household-related one-liners and the feedback from the fellow wives greatly encouraged her. When the family moved to California for job-related reasons, Diller became a secretary at a San Francisco television station. By this time, she had built up the courage to put together a nightclub act.
The local television hosts at the station (Willard Anderson and Don Sherwood) thought her act was hilarious and invited her on their show in 1955. Not long after, at age 38, Diller made her debut at San Francisco's Purple Onion nightclub. What was to be a two-week engagement was stretched out to more than a year and a half. The widespread publicity she received took her straight to the television talk and variety circuits where she was soon trading banter with Jack Paar, Jack Benny and Red Skelton, among others, on their popular television series. She was a contestant on Groucho Marx's popular quiz show You Bet Your Life (1950).
Throughout the 1960s, audiences embraced her bold and brazen quirkiness. Diller formed a tight and lasting relationship with Bob Hope, appearing in scores of his television specials and co-starring in three of his broad 1960s comedy films (Boy, Did I Get a Wrong Number! (1966), Eight on the Lam (1967) and The Private Navy of Sgt. O'Farrell (1968). Diller joined Hope in Vietnam in 1966 with his USO troupe.
Her celebrity eventually took its toll on her marriage. She separated from and eventually divorced Sherwood in 1965, who had, by this time, become a favorite topic and target of her act in the form of husband "Fang". That same year, she married singer, film actor and television host Warde Donovan who appeared with her in the slapstick movie Did You Hear the One About the Traveling Saleslady? (1968). They divorced in 1975.
By this time, Diller was everywhere on the small screen. A special guest on hordes of television series and comedy specials and, especially on such riotfests as Laugh-In (1977) and the Dean Martin celebrity series of roasts, she became a celebrity on the game show circuit as well, milking laughs on such established shows as The Hollywood Squares (Daytime) (1965) and The Gong Show (1976). She published best-selling comedy records to her credit and humorous anecdotes to pitch that made it to the bookstore shelves, such as "Phyllis Diller Tells All About Fang". However, stand-up remained her first love.
Her forays on television in her own series were, regretfully, unsuccessful. Her first television series, The Phyllis Diller Show (1966), had her pretty much pulling out all the stops as a wacky widow invariably scheming to keep up a wealthy front despite being heavily in debt. She had the reliably droll Reginald Gardiner and cranky Charles Lane as foils and even Gypsy Rose Lee, but to little avail. Revamped as "The Phyllis Diller Show", several of comedy's best second bananas (John Astin, Paul Lynde, Richard Deacon, Billy De Wolfe, Marty Ingels) were added to the mix, but the show was canceled after a single season. A second try with The Beautiful Phyllis Diller Show (1968), a comedy/variety show that had the zany star backed by none other than Rip Taylor and Norm Crosby, lasted only three months.
Seldom did she manage or receive offers to take her funny face off long enough to appear for dramatic effect. Somewhat more straightforward roles came later on episodes of Boston Legal (2004) and 7th Heaven (1996). Back in 1961, interestingly enough, she made both her stage and film debuts in the dramas of William Inge. Her theatrical debut came with a production of "The Dark at the Top of the Stairs" and she appeared first on film in the highly dramatic Splendor in the Grass (1961), lightening things up a bit with a cameo appearance as larger-than-life nightclub hostess Texas Guinan. Diller later impressed with her harridan role in the film The Adding Machine (1969) opposite Milo O'Shea.
Diller enjoyed a three-month run on Broadway in "Hello, Dolly!", co-starring Richard Deacon and appeared in other shows and musicals over time: "Wonderful Town" (she met her second husband Warde Donovan in this production), "Happy Birthday", "Everybody Loves Opal" and "Nunsense". In 1993, Diller was inducted into the St. Louis Walk of Fame. Her cackling vocals have enhanced animated features, too, what with Mad Monster Party? (1967) and A Bug's Life (1998). It took a heart attack in 1999 to finally slow down the comedienne and she eventually announced her retirement in 2002.
Aside from the baby who died in infancy, Diller was also predeceased by her eldest son, Peter (who died of cancer in 1998) and her daughter, Stephanie Diller (who died of a stroke in 2002). Her surviving children are Sally Diller, Suzanne Sue Diller and Perry Diller. As late as January 2007, she made an appearance on The Tonight Show with Jay Leno (1992). She was set to return on her 90th birthday in July but a back injury forced her to cancel. She died at age 95 of heart failure on August 20, 2012 in her home in Brentwood, California.- Actress
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One is certainly hard-pressed to think of another true "bad girl" representative so closely identifiable with film noir than hard-looking blonde actress Audrey Totter. While she remained a "B"-tier actress for most her career, she was an "A" quality actress and one of filmdom's most intriguing ladies. She always managed to set herself apart even in the most standard of programming.
Born to an Austrian father and Swedish mother on December 20, 1917, in Joliet, Illinois, she treaded lightly on stage ("The Copperhead," "My Sister Eileen") and initially earned notice on the Chicago and New York radio airwaves in the late 1930s before "going Hollywood." MGM developed an interest in her and put her on its payroll in 1944. Still appearing on radio (including the sitcom "Meet Millie"), she made her film bow as, of course, a "bad girl" in Main Street After Dark (1945). That same year the studio usurped her vocal talents to torment poor Phyllis Thaxter in Bewitched (1945). Her voice was prominent again as an unseen phone operator in Ziegfeld Follies (1945). Audrey played one of her rare pure-heart roles in The Cockeyed Miracle (1946). At this point she began to establish herself in the exciting "film noir" market.
Among the certified classics she participated in were The Postman Always Rings Twice (1946) in which she had a small role as John Garfield's blonde floozie pick-up. Things brightened up considerably with Lady in the Lake (1946) co-starring Robert Montgomery as detective Philip Marlowe. The film was not well received and is now better remembered for its interesting subjective camera technique. Audrey's first hit as a femme fatale co-star came on loanout to Warner Bros. In The Unsuspected (1947), she cemented her dubious reputation in "B" noir as a trampy, gold-digging niece married to alcoholic Hurd Hatfield. She then went on a truly enviable roll with High Wall (1947), as a psychiatrist to patient Robert Taylor, The Saxon Charm (1948) with Montgomery (again) and Susan Hayward, Alias Nick Beal (1949) as a loosely-moraled "Girl Friday" to Ray Milland, the boxing film The Set-Up (1949) as the beleaguered wife of washed-up boxer Robert Ryan, Any Number Can Play (1949) with Clark Gable and as a two-timing spouse in Tension (1949) with Richard Basehart.
Although the studio groomed Audrey to become a top star, it was not to be. Perhaps because she was too good at being bad. The 1950s film scene softened considerably and MGM began focusing on family-styled comedy and drama. Audrey's tough-talking dames were no longer a commodity and MGM soon dropped her in 1951. She signed for a time with Columbia Pictures and 20th Century Fox as well but her era had come and gone. Film offers began to evaporate. At around this time she married Leo Fred, a doctor, and instead began focusing on marriage and family.
TV gave her career a slight boost in the 1960s and 1970s, including regular roles in Cimarron City (1958) and Our Man Higgins (1962) as a suburban mom opposite Stanley Holloway's British butler. After a period of semi-retirement, she came back to TV to replace Jayne Meadows in the popular television series Medical Center (1969) starring Chad Everett and James Daly. She played Nurse Wilcox, a recurring role, for four seasons (1972-1976). The 70-year-old Totter retired after a 1987 guest role on "Murder, She Wrote." Her husband died in 1996. On December 12, 2013, Audrey Totter died at age 95 in West Hills, California.- Actor
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Actor/director/producer Mel Ferrer was born Melchor Gaston Ferrer on August 25, 1917, in Elberon, New Jersey. The son of a Cuban-born surgeon and a Manhattan socialite, he went to prep school and attended Princeton University. From the age of 15 he worked in summer stock. After Princeton he became an editor on a small Vermont newspaper and wrote a children's book, "Tito's Hats." He became a chorus dancer on Broadway in 1938 in two musicals and made his New York debut as an actor two years later. After a bout with polio he started in radio as a disc jockey in Texas and Arkansas and rose to producer-director of top-rated shows for NBC in New York. He made a modest debut as a director at Columbia with the low-budget The Girl of the Limberlost (1945), then returned to acting on Broadway to star in Lillian Smith's "Strange Fruit." He was John Ford's assistant on The Fugitive (1947).
Ferrer made his screen acting debut in Lost Boundaries (1949). He is best remembered for the role of the lame puppeteer in Lili (1953) and as Prince Andrei in War and Peace (1956). He directed Claudette Colbert in The Secret Fury (1950) and Audrey Hepburn - his wife at the time - in Green Mansions (1959). Ferrer produced the hit Wait Until Dark (1967), also with Hepburn. In the following year, the couple separated and ultimately divorced. Since 1960 had been producing and acting mainly in Europe.- Actor
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A golden career was reflected in his name. Robert Golden Armstrong ("Bob" to his friends) was born in Birmingham, Alabama on April 7, 1917. He attended the University of North Carolina at Chapel Hill. While there, he was frequently performing on stage with the Carolina Playmakers. After graduating, R.G. headed to New York, where his acting career really took off. In 1953, along with many of his Actors Studio buddies, he was part of the cast of "End As a Man" -- this became the first play to go from off-Broadway to Broadway. The following year, R.G. got his first taste of movies, appearing in Garden of Eden (1954). However, he returned to New York and the live stage. He received great reviews for his portrayal of Big Daddy in the Broadway production of "Cat On a Hot Tin Roof" in 1955.
In 1958, R.G. took the plunge to Hollywood -- he appeared in two movies, a television series, and did numerous guest appearances on television series that year, usually in Westerns such as The Rifleman (1958), Have Gun - Will Travel (1957) and Zane Grey Theatre (1956), among others. He would go on to appear in 80 movies and three television series in his career, and guest-starred in 90 television series, many of them Westerns, often as a tough sheriff or a rugged land baron. R.G. was a regular cast member in the television series T.H.E. Cat (1966), playing tough, one-handed Captain MacAllister. During the filming of Steel (1979) in Kentucky, watching the mammoth Kincaid Tower being built, he made some good friends in the cast: "You become a family on the set," he said in an interview at the time.
Even though he had a long, versatile career, the younger generation knows him as the demonic Lewis Vandredi (pronounced VON-drah-dee), who just would not let the main characters have a good night's sleep on the television series Friday the 13th: The Series (1987). Finally retiring after six successful decades in show business -- his last film appearance was Purgatory (1999) -- R.G. and his lovely wife Mary Craven were mostly just enjoying life in California, and still traveled and vacationed in Europe occasionally. His upbeat, fun-loving personality made him a delight for all who came in contact with him. R.G. Armstrong died at age 95 of natural causes in Studio City, California on July 27, 2012.- Actor
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Herbert Lom was born on September 11, 1917 as Herbert Charles Angelo Kuchacevich ze Schluderpacheru into an aristocratic family living in genteel poverty. His incredibly long surnames led him to select the shortest surname he could find extant ("Lom") and adopt it as his own, professionally. He made his film debut in the Czech film Woman Below the Cross (1937) and played supporting and, occasionally, lead roles. His career picked up in the 1940s and he played, among other roles, Napoleon Bonaparte in The Young Mr. Pitt (1942) and in War and Peace (1956). In a rare starring role, Lom played twin trapeze artists in Dual Alibi (1947). He continued into the 1950s with roles opposite Alec Guinness and Peter Sellers in The Ladykillers (1955), and Robert Mitchum, Jack Lemmon and Rita Hayworth in Fire Down Below (1957). His career really took off in the 1960s and he got the title role in Hammer Films' production of The Phantom of the Opera (1962). He also played "Captain Nemo" in Mysterious Island (1961) and landed supporting parts in El Cid (1961) and an especially showy role in Spartacus (1960) as a pirate chieftain contracted to transport Spartacus' army away from Italy.
The 1960s was also the decade in which Lom secured the role for which he will always be remembered: Clouseau/Peter Sellers' long-suffering boss, Commissioner Charles Dreyfus, in the "Pink Panther" films, in which he pulled off the not-inconsiderable feat of stealing almost every scene he and Sellers were in--a real accomplishment, considering what a veteran scene-stealer Sellers was. However, Lom did not concentrate solely on feature films. He became a familiar face to British television viewers when he starred as Dr. Roger Corder in The Human Jungle (1963). He moved into horror films in the 1970s, with parts in Asylum (1972) and And Now the Screaming Starts! (1973). He played Prof. Abraham Van Helsing opposite Christopher Lee in Count Dracula (1970), matching wits against the sinister vampire himself.
Lom appeared as one of the victims in Ten Little Indians (1974), the drunken Dr. Edward Armstrong. His career continued into the 1980s, a standout role being that of Christopher Walken's sympathetic doctor in The Dead Zone (1983). He also played opposite Walter Matthau in Hopscotch (1980) and returned to the murder mystery Ten Little Indians (1989), this time playing The General. Lom has been taking it easy since then, though he returned to his familiar role of Dreyfus in Son of the Pink Panther (1993). He was always a reliable and eminently watchable actor, and unfortunately did not receive the stardom he should have.
Herbert Lom died in his sleep at age 95 on September 27, 2012, in London, England.- Actor
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George Gaynes was born in Helsinki in May, 1917, which was then the capital of the Grand Duchy of Finland. The Grand Duchy was part of the Russian Empire, which was in a state of collapse at the time of Gaynes' birth. The Emperor Nicholas II of Russia had abdicated the throne on March 15, two months prior to Gaynes' birth, and the Empire was in the process of splintering.
His family left the country, and George was primarily raised in France, England, and Switzerland. Neither of his parents was Finnish. His father Gerrit Jongejans was a Dutch businessman, and his mother Iya Grigorievna de Gay was a Russian artist. George attended college in the vicinity of Lausanne, Switzerland and graduated in 1937. He then attended a music school in Milan, Italy for about a year.
In 1940, George Gaynes was living in France, during the time of the Battle of France in World War II. The Battle ended in defeat for the French Third Republic and the country was occupied by Nazi Germany. George attempted to flee the occupation authorities, by crossing the Pyrenees mountains into neutral Spain. He was arrested by the Spanish authorities for illegally crossing the border, but was soon released.
In 1943, George joined the Royal Netherlands Navy. With the Netherlands under German occupation, the headquarters of the Navy had moved to London, in the United Kingdom. George had no previous military experience, but he was noticed for multilingual skills. He fluently spoke Dutch, English, French, Italian and Russian. He was soon detached to the (British) Royal Navy to serve as a translator.
During his naval service in World War II, George took part in the Allied invasion of Sicily, the Battle of Anzio in the Italian Campaign, and the Adriatic Campaign. The War ended in 1945 and George was honorably discharged in July, 1946. His highest military rank was that of a sergeant.
In 1946, George briefly returned to living in France. He was approached by an American theater director with the offer to play a part in a musical. He took the offer and moved to New York City, where he started appearing in Broadway musicals. He applied for American citizenship and officially became a citizen in 1948.
From the late 1940s to the early 1960s, George Gaynes was primarily a theatrical actor. His roles included various musicals, dramas, and comedies. One of his better-known roles was that of Henry Higgins in the theatrical version of ''My Fair Lady'', which went on a successful tour in 1964.
In the early 1960s, George started appearing as a character actor in various television series. He was also offered a number of film roles. His career unexpectedly took off in the 1980s, with a major part in the television series Punky Brewster (1985) and another one in the then-popular film series "Police Academy" from 1984 to 1994. In Police Academy (1984), his role was that of Commandant Eric Lassard, the titular leader of the Academy. He played the role in all 7 films of the series, though he only had a featured part in the fifth film. This was probably his most memorable role and gained him celebrity recognition for the first time.
In the 1990s, his career slowed down again, with only a few film appearances. He only played in a single film through the 2000s, Just Married (2003), and then retired. He was 86-years-old and could no longer play physically demanding roles. He spend 13 years in retirement before he died of natural causes in 2016.- Actress
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Born into a show-business family--her father was a director and her mother was a film cutter--Virginia Grey made her film debut at age 10 as Eva in Uncle Tom's Cabin (1927). After a few more films as a child actress, she left the business to finish her schooling. Returning to films as an adult in the 1930s, she started out getting extra work and bit parts, but soon graduated to speaking roles and was eventually signed to a contract by MGM. The studio gave her leading parts in "B" pictures and supporting roles in "A" pictures. She left MGM in 1942 and went out on her own, working at almost every studio in Hollywood. She worked steadily in both films and TV, and retired from the business in 1970.- Actress
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Ann Rutherford was born in Vancouver, British Columbia, Canada.
The daughter of a former Metropolitan Opera singer, John Rutherford, and her actress mother, Lillian Mansfield, was destined for show business.
Not long after her birth, her family moved to California, where she made her stage debut in 1925.
Ann appeared in many plays and on radio for the next nine years before making her first screen appearance in Waterfront Lady (1935).
Ann's talent was readily apparent, and she was signed to three films in 1935: Waterfront Lady (1935), Melody Trail (1935), and The Fighting Marines (1935).
By now, she was a leading lady in the fabled Westerns with two legends, John Wayne and Gene Autry.
By the time Ann was 17, she inked a deal with MGM, where she would gain star status for her portrayal of "Polly Benedict" in the popular "Andy Hardy" series with Mickey Rooney. Ann's first role as "Polly" was in 1938, in You're Only Young Once (1937).
Three more Hardy films were produced that same year: Out West with the Hardys (1938), Love Finds Andy Hardy (1938), and Judge Hardy's Children (1938).
Ann found time to play in other productions, too. One that is still loved today is the Charles Dickens' classic A Christmas Carol (1938), in which she played the sweet role of the Spirit of Christmas Past.
In 1939, Ann played the role of "Annie Hawks" in Of Human Hearts (1938) in addition to three more Andy Hardy films.
That year also saw Ann land a role in the most popular film in film history. She played "Careen O'Hara," Scarlett's little sister, in Gone with the Wind (1939). Plenty of fans of the Andy Hardy series went to see it just for Ann. The film was unquestionably a super hit.
She then resumed making other movies. While working for MGM, Ann, along with the other stars, was under the watchful eye of movie mogul Louis B. Mayer.
Mayer was no different from any other film tycoon except for the fact that he ran the classiest studio in Hollywood. The bottom line was profit, and Mayer couldn't really maximize profits unless he kept performers' salaries minimized as much as possible. Most tried to get raises and failed. Even Mickey Rooney was decidedly underpaid during his glory years at MGM.
But not Ann Rutherford. When she asked for a raise, she took out her bankbook and, showing him the amount it contained, and told Mayer she had promised her mother a new house. Ann got her raise.
In 1942 at the age of 22, Ann appeared in her last Andy Hardy film, Andy Hardy's Double Life (1942).
She then left MGM and freelanced her talent. Ann was still in demand.
In 1943, she appeared in Happy Land (1943), but it was a little later in her career when she appeared in two big hits.
In 1947, she played Gertrude Griswold in The Secret Life of Walter Mitty (1947) and Donna Elena in Adventures of Don Juan (1948) in 1948.
After that, Ann appeared in several TV programs and didn't return to the silver screen until 1972, in They Only Kill Their Masters (1972).
Her last role came in 1976 in the dismal Won Ton Ton: The Dog Who Saved Hollywood (1976), whereupon she retired.
Ann was approached to play the older Rose in 1998's mega hit Titanic (1997) but turned it down.
She happily enjoyed her retirement being constantly deluged with fan mail and granting several interviews and appearances.
She died at her Beverly Hills home on June 11, 2012 with her close friend Anne Jeffreys by her side. She was 94 years old.- Actress
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American leading lady whose sweet smile and sunny disposition made her the prototypical girl-next-door of American movies of the 1940s. Raised in semi-poverty in Bronx neighborhoods by her divorced mother, Allyson (nee Ella Geisman) was injured in a fall at age eight and spent four years confined within a steel brace. Swimming therapy slowly gave her mobility again, and she began to study dance as well. She entered dance contests after high school and earned roles in several musical short films. In 1938, she made her Broadway debut in the musical "Sing Out the News." After several roles in the chorus of various musicals, she was hired to understudy Betty Hutton in "Panama Hattie." Hutton's measles gave Allyson a shot at a performance and she impressed director George Abbott so much that he gave her a role in his next musical, "Best Foot Forward." She was subsequently hired by MGM to recreate her role in the screen version. The studio realized what it had in her and offered her a contract.
Her smoky voice and winning personality made her very popular and she made more than a score of films for MGM, most often in musicals and comedies. She became a box-office attraction, paired with many of the major stars of the day. In 1945, she married actor-director Dick Powell, with whom she occasionally co-starred. Following Powell's death from cancer in 1963, she retreated somewhat from film work, appearing only infrequently on screen and slightly more often in television films. Occasional nightclub appearances and commercials were her only other public performances since, and she died of pulmonary respiratory failure and acute bronchitis on July 8, 2006, after a long illness.- 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.- Actress
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Stardom somehow eluded this vastly gifted actress. Had it not perhaps been for her low-level profile compounded by her McCarthy-era blacklisting in the early 1950s, there is no telling what higher tier Marsha Hunt might have attained. Perhaps her work was not flashy enough, or too subdued, or perhaps her intelligence too often disguised a genuine sex appeal to stand out among the other lovelies. Two studios, Paramount in the late 1930s and MGM in the early 1940s, failed to complete her star. Nevertheless, her talent and versatility cannot be denied. This glamorous, slimly handsome leading lady offered herself to well over 50 pictures during the 1930s and 1940s alone.
Christened Marcia Virginia Hunt, the Chicago-born actress was the younger of two girls born to an attorney and voice teacher/accompanist. The family relocated to New York when she was quite young and she attended such schools as PS #9 and Horace Mann School for Girls. She developed an interest in acting at an early age (3), performing around and about in school plays and at church functions. Following her high school graduation the young beauty found work as a John Powers model and as a singer on radio, a gift obviously inherited from her mother. Marcia (she later changed the spelling of her first name to Marsha) studied drama at the Theodora Irvine Drama School (one of her fellow students was Cornel Wilde).
Encouraged to try Hollywood by various New York people in the business, the young photogenic hopeful moved there in 1934. She was only 17 but was accompanied by her older sister. It didn't take long for the studios to take an interest in her and she was signed up by Paramount not long after. Marsha's very first movie was in a featured role opposite Robert Cummings and Johnny Downs in the old-fashioned The Virginia Judge (1935). Displaying an innate, fresh-faced sensitivity, she moved directly into her second film, playing the title role in Gentle Julia (1936), this time with Tom Brown as her romantic interest.
Marsha continued to show promise but these well-acted roles were, more often than not, overlooked in mild "B"-level offerings. Appearing in co-starring roles in everything from westerns (Desert Gold (1936) and Thunder Trail (1937)) to folksy or flyweight comedy (Easy to Take (1936) and Murder Goes to College (1937)), she could not find decent enough scripts at Paramount. Though she was once deemed one of the studio's promising starlets, one of her last films there was another prairie flower role--[error]--with cowboys John Wayne and Johnny Mack Brown vying for her attention. At about this time (1938) she married Jerry Hopper, a Paramount film editor who turned to directing in the 1950s. This marriage lasted but a few years.
Freelancing for a time for many studios, Marsha's more noticeable war-era work in sentimental comedy and staunch war dramas came from MGM, and she finally signed with the studio in 1939. The roles offered, which included a featured part as one of the sisters in Pride and Prejudice (1940) starring Greer Garson, and again as a sister to Garson in Blossoms in the Dust (1941), which showed much more promise. Some of her better war-era roles came in the films Cheers for Miss Bishop (1941), Kid Glove Killer (1942) and The Affairs of Martha (1942). During this time she also sang on extended USO tours and stayed busy on radio. Her best known film is arguably The Human Comedy (1943) but she wasn't the star. Other film roles had her in support pf others, such as Margaret Sullavan in Cry 'Havoc' (1943), little Margaret O'Brien in Lost Angel (1943) and Garson again in The Valley of Decision (1945). Leading roles did not come in "A" pictures.
Her MGM contract was allowed to lapse in 1945 and a second marriage in 1946, to screenwriter Robert Presnell Jr., became a higher priority. The marriage was long and happy (exactly 40 years) and lasted until his passing in June of 1986. The few pictures she made were, again, uneventful or in support of the star, although she did have a catchy, unsympathetic role in the Susan Hayward starrer Smash-Up: The Story of a Woman (1947) as a scheming secretary. In Raw Deal (1948), starring Dennis O'Keefe, she got the "raw deal" being overshadowed as a "good girl" by the "bad girl" posturings of Claire Trevor. At this point of her career she decided to try the stage and made her Broadway debut in "Joy to the World" (1948). Other plays down the road would include "The Devil's Disciple" with Maurice Evans, "The Lady's Not for Burning" with Vincent Price and "The Little Hut" with Leon Ames. She even had a chance to return to her beloved singing as Anna in a production of "The King and I" and (much later) in productions of "State Fair" and "Meet Me in St. Louis". TV also yielded some new work opportunities, including a presentation of "Twelfth Night" in which she portrayed Viola.
The seams of her film career fell apart in the early 1950s. During the late 1930s and into the 1940s she signed a number of petitions promoting liberal ideals, and was a member of the Committee for the First Amendment. A strong supporter of freedom of speech, these associations led to her name appearing in the pamphlet "Red Channels", a McCarthy-era publication that "exposed" alleged Communists and "subversives". Although she and her husband were never called before the House Un-American Activities Commission, their names were nevertheless smeared all over Hollywood as "Reds". While she still found film work on occasion, it was rare. Although she had worked steadily from 1935 until 1949, appearing in over 50 films, she made only three films in the next eight years. Her screenwriter husband would be credited for only one film from 1948 to 1955.
Semi-retired by the early 1960s, stage and TV became Marsha's focal points. She also devoted herself to civil rights causes and such humanitarian efforts as UNICEF, The March of Dimes and The Red Cross. She became actively involved with the United Nations. On the acting front she appeared only in smaller roles in five films but in numerous TV programs and made-for-TV movies, playing everything from judges to grandmas. She became the Honorary Mayor of Sherman Oaks, California, in 1983, and published a book on fashion entitled "The Way We Wore" in 1993. Widowed in 1986, the ever-vibrant Marsha, in her 90s, continues to serve on the Advisory Board of Directors for the San Fernando Valley Community Mental Health Center, a large non-profit that advocates for adults and children affected by homelessness and mental illness. As recently as 2006, she appeared to good advantage in the movie Chloe's Prayer (2006) and, at age 91, was seen in Empire State Building Murders (2008).- Actress
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Celeste Holm was an only child, born into a home where her mother was a painter and her father worked in insurance. She would study acting at the University of Chicago and make her stage debut in 1936. Her Broadway debut came when she was 19 in 'The Time of Your Life'. She appeared in many successful plays, including "The Women", "Oklahoma!" and "Bloomer Girl". It was in the production of "Oklahoma!" that Celeste would sing the showstopper, "I Cain't Say No". She was signed by 20th Century Fox in 1946 and appeared in her first film, Three Little Girls in Blue (1946). With her third film, Gentleman's Agreement (1947), she would win the Supporting Actress Oscar and a Golden Globe. Celeste would be nominated twice more for Academy Awards in the Come to the Stable (1949) and All About Eve (1950). But, Celeste was a star who loved the stage so she left Hollywood, only to return for two MGM musicals in the 1950s. They were The Tender Trap (1955) and High Society (1956). In addition to her stage career, Celeste appeared on television in her own series, Honestly, Celeste! (1954) and as a panelist on Who Pays? (1959). In 1970, Celeste returned to television series as the chaperon to the president's daughter on Nancy (1970). For the next two decades, she would appear on television in regular series, miniseries and movies. Celeste Holm died at age 95 of a heart attack on July 15, 2012.- Actor
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A genial, well-respected, all-around "nice guy", the breezily handsome Barry Nelson was born Haakon Robert Nielsen on April 16, 1917, in San Francisco, California, to Betsy (Christophersen) and Trygve "Ted" Nielsen, both Norwegian immigrants. He was raised in nearby Oakland and graduated from the University of California at Berkeley in 1941. A talent scout from MGM caught Barry in a college production of "Macbeth" and quickly sized up his potential. Cast in earnest secondary roles including Shadow of the Thin Man (1941) and Dr. Kildare's Victory (1942), he was assigned the lead in the war film A Yank on the Burma Road (1942). Serving in WWII, he appeared in the Moss Hart play "Winged Victory", in what would become his Broadway debut, in 1943 and a year later he appeared as "Corporal Barry Nelson" in the 1944 film version of the play. Barry lost major ground in films during the post-war years, but certainly made up for it on the live stage by appearing in a string of New York successes ranging from "The Rat Race" to "The Moon Is Blue."
On TV, in addition to becoming a trivia statistic in the Hollywood annals as being the first to give video life to Ian Fleming's "007" agent James ("Jimmy") Bond in a one-hour production of "Casino Royale" in Climax! (1954), Barry lit up the small screen in such dramatic programs as Alfred Hitchcock Presents (1955) and, in particular, a memorable episode of The Twilight Zone (1959). He also starred in the series The Hunter (1952), a Cold War adventure, and My Favorite Husband (1953), in which he played the level-headed mate and "straight man" to daffy blonde Joan Caulfield. In the 1960s he continued to demonstrate his acting muscle on stage and TV, although he did manage to preserve on film his starring role in Mary, Mary (1963), a huge Broadway hit with Debbie Reynolds co-starring in place of stage partner Barbara Bel Geddes. The lightweight play "Cactus Flower" with Lauren Bacall was another bright vehicle, but star Walter Matthau's clout cost Barry the part when it went to film. Through it all Barry remained a thoroughly solid professional, particularly in the realm of TV-movies. Such standouts include his neighbor/undercover agent to criminals-on-the-run Don Murray and Inger Stevens in The Borgia Stick (1967) and his blind plane crash survivor in Seven in Darkness (1969).
The 1970s proved a very good decade indeed for Barry theater-wise with "Seascape," "The Norman Conquests" and Liza Minnelli's "The Act" among his pleasures, the last-mentioned earning him a Tony nomination. Despite co-starring roles in the blockbuster hit Airport (1970) and comedy Pete 'n' Tillie (1972), the silver screen would not become his strong suit in later years. By the early 1990s he had fully retired.
A popular, clean-cut, down-to-earth "Average Joe" with a charmingly sly side, you just couldn't help but like Barry Nelson. Although he certainly could play the deceptive villain when called upon, he was usually the kind of guy you'd root for having as a neighbor, pal or business partner. Divorced from actress Teresa Celli for quite some time and completely retired now, he and second wife Nansilee (they married in 1992) traveled extensively and enjoyed antique shopping in particular. In 2007, during one of their many excursions, Barry passed away quietly at age 89 at a hotel in Bucks County, Pennesylvania.- Born in Oakland, California, Kenneth Tobey was headed for a law career when he first dabbled in acting at the University of California Little Theater. That experience led to a year and a half of study at New York's Neighborhood Playhouse, where his classmates included Gregory Peck, Eli Wallach and Tony Randall. Throughout the 1940s Tobey acted on Broadway and in stock; he made his film debut in a 1943 short, "The Man on the Ferry." He made his Hollywood film bow in a Hopalong Cassidy Western, and has since appeared in scores of features and on numerous TV series. He even had his own series, Whirlybirds (1957), in which he played an adventurous helicopter pilot.
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Paul Brinegar was born on 19 December 1917 in Tucumcari, New Mexico, USA. He was an actor, known for Rawhide (1959), High Plains Drifter (1973) and Maverick (1994). He was married to Shirley Talbott. He died on 27 March 1995 in Los Angeles, California, USA.- Actor
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Born Robert Alexander Cochran, son of a California lumberman, he worked mostly in the theatre before landing a contract with Samuel Goldwyn in 1945. His debut was Wonder Man (1945) with Virginia Mayo and Danny Kaye. From 1949 to 1952, he was signed to Warner Brothers, then started up his own production company. In 1965, he sailed off in his yacht to Guatemala to look for suitable filming locations but died of a lung infection before reaching land.- Actress
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Elegant, quintessentially British Valerie Hobson was the daughter of a British army officer. She studied dancing at the Royal Academy of Dramatic Art (RADA) and appeared onstage for the first time at age 16, but she contracted a case of scarlet fever and decided to give up dancing for acting. She journeyed to Hollywood, but became disillusioned with the studio system and returned to Britain, where she was often cast in aristocratic roles.
She married producer Anthony Havelock-Allan and subsequently appeared in many of his films. They divorced in 1952. She then married politician -- and future notorious sex-and-espionage-scandal figure -- John Profumo and gave up her acting career. She stood strongly by Profumo during that distasteful period. In her later years she was devoted to charity work. She died in 1998, aged 81.- Actor
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American supporting player specializing in tough guys. Of Serbian extraction, he was born in Nevada in 1917. As a young man, he boxed in amateur bouts and had early training in theatre at the Pasadena Playhouse. He joined the Air Corps during World War II and was assigned to the troupe performing the Moss Hart Broadway tribute to the Corps, Winged Victory, acting under his first chosen stage name, Barry Mitchell. He appeared in the film version of the show, and after the war became active in radio drama as well as theatre. John Huston spotted him in a play and cast him as a bad guy in The Asphalt Jungle (1950), under the new sobriquet of Brad Dexter. Throughout the Fifties, he continued to play hard cases of a usually villainous stripe, in both crime dramas and Westerns. His most famous role came as one of title characters in The Magnificent Seven (1960), albeit his fame was considerably eclipsed by most of the other members of that band: Yul Brynner, Steve McQueen, Horst Buchholz, Charles Bronson, Robert Vaughn, and James Coburn. He continued acting into the 1970s, then made a shift into producing.- Lovable, laid-back Jesse White made acting seem fun and easy. He was born Jesse Marc Weidenfeld in Buffalo, New York, and was raised in Akron, Ohio. He made his first amateur appearance on the local stage at age 15. Before breaking into professional theater in the 1940s, he held many different jobs, including selling beauty supplies and lingerie. Jesse got his start in vaudeville and burlesque, and eventually reached Broadway in 1943. The following year, he played the rascally, gruff-mannered asylum attendant in Harvey, starring Frank Fay. This role made him famous and he went on to appear with James Stewart in the movie version (Harvey (1950)). The 1950s was a decade of transition to the new medium of television. As a television regular, he did something that had never been done before - he appeared regularly in two series at the same time. In Private Secretary (1953) and The Danny Thomas Show (1953). This record stood for 13 years until Leo G. Carroll appeared simultaneously on The Man from U.N.C.L.E. (1964) and The Girl from U.N.C.L.E. (1966)).
One of Jesse's earliest television appearances is a 1961 episode of the sci-fi series Once Upon a Time (1961) in which he played, prophetically enough, The Repairman. Jesse would make guest appearances on dozens of television series, and appear in 60 movies, almost always playing a lovable rascal. Some of his last movie appearances were in the sci-fi movies Pajama Party (1964) and The Ghost in the Invisible Bikini (1966). Then the 50-year-old Jesse seized a terrific career opportunity. From 1968-1989, he would be television's second and longest running Maytag Repairman in a long series of commercials. For this, he made several hundred thousand dollars a year, for just a few days filming. Even though he was semi-retired during this time, Jesse appeared in a dozen movies, his last film being Matinee (1993), which was an homage to some of the 1950s-1960s sci-fi films of which he had been a part. Jesse always seemed to be having as much fun acting as the fans did watching him.
Jesse White died of a heart attack on January 9, 1997, only six days after his 80th birthday. He was interred at Mount Sinai Memorial Park in Los Angeles, California. - 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.- Actress
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Lena Calhoun Horne was born June 30, 1917, in Brooklyn, New York. In her biography she stated that, on the day she was born, her father was in the midst of a card game trying to get money to pay the hospital costs. Her parents divorced while she was still a toddler. Her mother left later in order to find work as an actress and Lena was left in the care of her grandparents. When she was seven, her mother returned and the two traveled around the state which meant that Lena was enrolled in numerous schools. For a time she also attended schools in Florida, Georgia and Ohio. Later she returned to Brooklyn.
Lena quit school when she was 14 and got her first stage job at 16 dancing and later singing at the famed Cotton Club in Harlem, a renowned theater in which black performers played before white audiences immortalized in The Cotton Club (1984)). She was in good hands at the club, especially when people such as Cab Calloway and Duke Ellington took her under their wings and helped her over the rough spots. Before long, her talent resulted in her playing before packed houses.
If Lena had never made a movie, her music career would have been enough to have ensured her legendary status in the entertainment industry, but films were icing on the cake. After she made an appearance on Broadway, Hollywood came calling. At 21 years of age, Lena made her first film, The Duke Is Tops (1938). It would be four more years before she appeared in another, Panama Hattie (1942), playing a singer in a nightclub. By now Lena had signed with MGM but, unfortunately for her, the pictures were shot so that her scenes could be cut out when they were shown in the South since most theaters in the South refused to show films that portrayed blacks in anything other than subservient roles to whites. Most movie studios did not want to take a chance on losing that particular source of revenue. Lena did not want to appear in those kinds of stereotyped roles and who could blame her?
In 1943, MGM loaned Lena to 20th Century-Fox to play the role of Selina Rogers in the all-black musical Stormy Weather (1943), which did extremely well at the box office. Her rendition of the title song became a major hit on the musical charts. In 1943, she appeared in Cabin in the Sky (1943), regarded by many as one of the finest performances of her career. She played Georgia Brown opposite Ethel Waters and Eddie 'Rochester' Anderson in the all black production. Rumors were rampant that she and Waters just did not get along well, although there was never any mention of the source of the alleged friction. However, that was not the only feud on that picture. Other cast members sniped at one another and it was a wonder the film was made at all. Regardless of the hostilities, the movie was released to very good reviews from the ever tough critics. It went a long way in showing the depth of the talent that existed among black performers in Hollywood, especially Lena.
Lena's musical career flourished, but her movie career stagnated. Minor roles in films such as Boogie-Woogie Dream (1944), Words and Music (1948) and Mantan Messes Up (1946) did little to advance her film career, due mainly to the ingrained racist attitudes of the time. Even at the height of Lena's musical career, she was often denied rooms at the very hotels in which she performed because they would not let blacks stay there. After Meet Me in Las Vegas (1956), Lena left films to concentrate on music and the stage. She returned in 1969 as Claire Quintana in Death of a Gunfighter (1969). Nine years later, she returned to the screen again in the all black musical The Wiz (1978) where she played Glinda the Good Witch. Although that was her last big-screen appearance, she stayed busy in television appearing in A Century of Women (1994) and That's Entertainment! III (1994).
Had it not been for the prevailing racial attitudes during the time when Lena was just starting her career, it's fair to say that it would have been much bigger and come much sooner. Even taking those factors into account, Lena Horne is still one of the most respected, talented and beautiful performers of all time.- Actress
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Fewer dames were tougher on the 40s and 50s screen than leggy (5'9") "B" star Adele Jergens, the tough-talking, plump-cheeked peroxide blonde who gave her fair share of tawdry trouble in backstage dramas, film noir, crime potboilers, and adventure yarns. She was just as headstrong at trying to bust out of the chorus lines and cheesecake parts to become a topnotch "A" actress draw. She failed in the latter but nevertheless left a respectable Hollywood legacy for the host of hard-as-nails babes that did leave an impression.
Born on November 26, 1917, in Brooklyn New York, the youngest of four to working class Norwegian parents, she was christened Adele Louisa Jurgens (some sources say Jurgenson) and started her youth as a sports-minded tomboy before setting her young teen sights on an entertainment career as a dancer. After years of study (she earned a scholarship) at a Manhattan dance studio and following her graduation from Grover Cleveland High School, the knockout-looking 18-year-old found her way into the Broadway chorus line (billed as Adele Jurgens, her real name) of the Moss Hart/Cole Porter musical "Jubilee!", which introduced the classic Porter songs "Begin the Beguine" and "Just One of Those Things" and starred Melville Cooper and Mary Boland as the King and Queen and a young Montgomery Clift as Prince Peter.
The John Robert Powers Agency saw in Adele top runway model potential and quickly signed up the gorgeous girl and her gams. She willingly played the starlet game by being squired around town by big Broadway stars and handsome male eligibles, and finding promotional titles to further attract pin-up attention -- "Miss World's Fairest" at the New York 1939 World's Fair, as well as "The Champagne Blonde" and "The Girl with the Million Dollar Legs". She was even dubbed "The Number One Showgirl in New York City" at one point. By this time she had revised the spelling of her last name for the stage (Jergens). In between modeling assignments, Adele found dance work in other in cabaret revues, nightclubs, in the Rockette chorus line, and in such Broadway shows as Cole Porter's "Leave It to Me!" (1938) again starring Gaxton and Moore and co-starring "My Heart Belongs to Daddy" singing star Mary Martin; Cole Porter's "DuBarry Was a Lady" (1939) with Ethel Merman belting out "Well, Did You Evah?" and "Friendship"; "Louisiana Purchase" (in a replacement role) (1940), "Banjo Eyes" (1941) starring Eddie Cantor and the burlesque revue "Star and Garter" (1942) in which Adele had a featured role while understudying one of its headliners, Gypsy Rose Lee. She went on for Ms. Lee, Hollywood took immediate notice with Twentieth Century-Fox signing her up.
Adele started at the bottom rung at Fox with the usual decorative showgirl or good time girl parts in the musicals Hello Frisco, Hello (1943), Sweet Rosie O'Grady (1943), The Gang's All Here (1943)and Pin Up Girl (1944). When Fox dropped her option she was snatched up by Columbia in a seven-year contract. After minor parts again in the musicals Dancing in Manhattan (1944), Tonight and Every Night (1945) and State Fair (1945), she was entrusted with the lead femme role as Princess Armina of Baghdad in the Eastern adventure A Thousand and One Nights (1945) with Phil Silvers and handsome Cornel Wilde as Aladdin. She also displayed a brusque comic flair as the aptly-named Allura in the Rosalind Russell comedy She Wouldn't Say Yes (1945) as an hilariously-accented blonde briefly competing for Russell's man Lee Bowman. She top-lined her own musical albeit the quickly forgotten When a Girl's Beautiful (1947) which co-starred Marc Platt and Stephen Dunne.
After a lull, the former WWII pin-up (once nick-named "The All-American Girl" by the men of the 504th parachute infantry) was now being billed by Columbia as "The Eyeful" and returned to the musical genre with the fantasy Down to Earth (1947). Rita Hayworth plays a heavenly muse who, disturbed by a Broadway musical below the clouds that is mocking Greek mythology. Turning mortal, she takes things in her own hands by turning mortal and (not easily) replacing the show's tough-talking original goddess Adele Jergens in order to manipulate the proceedings. Adele gets to tap and sing (dubbed by Kay Starr) before she is fired.
Outside of musicals, the hard-looking blonde (especially when her hair was let down), Adele started making headway in crime dramas and film noir starting with a nifty featured role as a glamour girl in The Corpse Came C.O.D. (1947). She followed that with hard-boiled roles in I Love Trouble (1948), The Dark Past (1948), Edge of Doom (1950), Armored Car Robbery (1950) and Side Street (1949). For the most part, however, it was the usual over-served hash that, while keeping her busy, also kept her locked in the "B" support ranks -- The Prince of Thieves (1948), Law of the Barbary Coast (1949), Slightly French (1949), Make Believe Ballroom (1949), Aaron Slick from Punkin Crick (1952), Somebody Loves Me (1952) -- when not leading in inconsequential material such as Ladies of the Chorus (1948) (as the mother of Marilyn's Monroe's character), The Mutineers (1949), The Woman from Tangier (1948), The Crime Doctor's Diary (1949) and the serial Radar Secret Service (1950).
Treasure of Monte Cristo (1949) was notable for the casting of Adele and future husband Glenn Langan. One might think that gorgeous Adele would end up a divorcée many times over, but she and Langan, who wed on October 6, 1951, stayed married until his death almost 40 years later. The 1950s, following good parts (Sugarfoot (1951)) but far more routine ones (Beware of Blondie (1950), The Traveling Saleswoman (1950), Blues Busters (1950)), Adele moved into TV work. After having son Tracy in 1953, Adele took a brief break from her career, then resumed it and found work on such programs as "Dangerous Assignment", "The Abbott & Costello Show", "Mr. and Mrs. North", "Make Room for Daddy", "The Public Defender", "I Married Joan", "My Favorite Husband", and "The Burns & Allen Show". Co-starring on film with husband Langan again in The Big Chase (1954), Jergens worked for a couple more years then left the business as the quality of her movies diminished with tawdry roles in Fireman Save My Child (1954), The Miami Story (1954), The Lonesome Trail (1955), Girls in Prison (1956) and Runaway Daughters (1956). She never returned but husband continued his career until the early 1970s; he also dabbled in real estate.
Glenn Langan died of cancer in 1991 and their only child, 48-year-old Tracy, who had become a film technician, died in 2001 of a brain tumor, which devastated the actress. Her health declined quickly after her son's death; she died the following year of pneumonia on November 22, 2002, just days before her 85th birthday.- Actor
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Ossie Davis was born on 18 December 1917 in Cogdell, Georgia, USA. He was an actor and writer, known for Do the Right Thing (1989), Bubba Ho-Tep (2002) and Grumpy Old Men (1993). He was married to Ruby Dee. He died on 4 February 2005 in Miami Beach, Florida, USA.- Actress
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Isabel Sanford was a Broadway actress for over thirty years before moving to Hollywood. She made numerous guest appearances on TV, including a stint as a supporting cast member on The Carol Burnett Show (1967). Until her passing, Isabel continued to act frequently, most recently in a series of commercials for Old Navy stores with The Jeffersons (1975) co-star, Sherman Hemsley. She made several commercials for Nick-at-Nite as well when the cable channel premiered The Jeffersons (1975).- Writer
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The name "Melville" is not immediately associated with film. It conjures up images of white whales and crackbrained captains, of naysaying notaries and soup-spilling sailors. It is the countersign to a realm of men and their deeds, both heroic and villainous. It is the American novel, with its Ishmaels and its Claggarts a challenge to the European canon. It is Herman Melville. And yet, for over three decades, it was also worn by one of the French cinema's brightest lights, Jean-Pierre Melville, whose art was as revolutionary as that of the eponymous author.
Jean-Pierre Grumbach was born on October 20, 1917, to a family of Alsatian Jews. In his youth he studied in Paris, where he was first exposed to great films, among them Robert J. Flaherty's and W.S. Van Dyke's silent documentary White Shadows in the South Seas (1928). It left so deep a mark upon the pubescent Grumbach that he became a regular at the cinema, an obsession that would benefit him in adulthood. His own earliest efforts, 16mm home movies, were made with a camera given to him by his father in this period. In 1937, however, his career was forestalled when he began obligatory service in the French army. He was still in uniform when the Nazis invaded in 1940; under the nom de guerre of Melville, he aided the Resistance and was eventually forced to flee to England. There he joined the Free French forces and took part in the Allies' liberation of continental Europe. After the war, despite a desire to revert to Grumbach, he found that pseudonym had stuck.
Eager to earn his place in the movie industry, Melville applied to the French Technicians' Union but was denied membership. Undaunted by what he regarded as party politics, he set up his own production company in 1946 and started releasing films outside the system. The first, a low-budget short titled 24 Hours in the Life of a Clown (1946), was a success, inspired by his boyhood love for the circus. His feature-length debut, The Silence of the Sea (1949), was highly innovative. An intimate piece on the horrors of World War II, it starred unknown actors and was filmed by a skeleton crew. Its schedule was unusual: It was shot over 27 days in the course of a year. Its production was unusual: it incorporated "on-location" scenes--rarities in that era--done without vital permits. Its provenance was unusual: it was adapted from a book before the author's consent was obtained. Above all, its style was unusual. Its dark, claustrophobic sets and bottom-lit close-ups signaled a departure from the highly cultured cinema of René Clair, Marcel Pagnol, Abel Gance and Jacques Feyder. It was neither comedietta nor costume drama nor avant-garde "cinéma pur." Where its roots may have been in Jean Renoir's The Grand Illusion (1937), it was clearly something new.
Over the following 12 years Melville continued to create films that would influence the auteurs of La Nouvelle Vague (i.e., the French New Wave.) In 1950 he collaborated with Jean Cocteau on an unsatisfying version of The Terrible Children (1950), the tale of a strange, incestuous relationship between siblings. When You Read This Letter (1953), with French and Italian backing, was his first commercial project. While it was unprofitable, the fee he received allowed him to establish a studio outside of Paris. His next work, Bob the Gambler (1956), featured Roger Duchesne, a popular leading man of the 1930s who had drifted into the underworld during the war. As such, he was a uniquely apt choice for the role of the fashionable, self-immolating Bob. His supporting cast included Daniel Cauchy as toadying sidekick Paolo and newcomer Isabelle Corey as the temptress Anne. Although the picture was not a hit, it was a favorite of the aficionados that frequented Henri Langlois' Cinémathèque Français. Among them were the young savants Jean-Luc Godard and François Truffaut, the latter of whom used Guy Decomble of "Bob le flambeur" in his The 400 Blows (1959) that ushered in the "New Wave" era. They adored the hip, new rendering of a tired scenario, much of it shot in the streets with hidden cameras. They viewed it as fresh and daring, a "freeing up" through the rejection of high-minded literary adaptations and the embracing of pop culture. Simply put, Melville refused to play by the rules, and they followed suit.
In retrospect, "Bob le flambeur" seems straightforward: A reformed mobster turned high-stakes gambler comes out of retirement to pull one last job. Its genius lies in its simplicity. Melville admired American culture, as his alias indicated. He drove around Paris in an enormous Cadillac, sporting a Stetson hat and aviator sunglasses. He drank Coca-Cola and listened to American radio. The works of American directors John Ford and Howard Hawks were appealing to him, as they were ageless sagas of heroes and villains. Melville strove to build his own pantheon by blending the American ethos with his postwar sensibilities. As he perceived it, it was America that had valiantly rescued France from German occupation. Still, for a young man with Alsatian roots, the line separating good guys and bad guys had been breached, and one can see this disillusionment from The Silence of the Sea (1949) onward. Thus, while he borrowed from the American noir's revolt against the dichotomous Hollywood creations of the 1930s, the artist was forging his own apocryphal brand of dark tragedy. In his paradigm, a criminal could be a kind of hero within his milieu, so long as he stuck by his word and his allegiances. It was his personal style and his adherence to the code of honor that defined a "good guy"; obversely, it was his faith in others that was his downfall. It is a universe without the possibility for salvation, in which love and friendship are brief interludes in the cat-and-mouse games that lead to certain destruction. In that sense, Bob is a crucial link between Julien Duvivier's Pépé le Moko (1937) and Godard's Breathless (1960), in which Melville gave a brilliant cameo performance.
Jean-Pierre Melville is often regarded as the godfather of the Nouvelle Vague. Nonetheless, it is worth mentioning that had it not been for his aforementioned passion for American film, he might have shown us a very different "Bob le flambeur". Originally conceived as a hard-boiled gangster flick about the step-by-step plotting of a heist, Melville was forced to rethink its narrative after watching John Huston's remarkably similar The Asphalt Jungle (1950). It was only then that he had the idea to turn Bob into the comedy of manners that so delighted the cinephiles of the day. For this and other debts of gratitude, his next picture, Two Men in Manhattan (1959), was "a love letter to New York" and the America he revered. It was also his third straight box-office flop, however, and it caused Melville to break away from a New Wave movement that he felt catered to the cognoscenti. He later said, "If . . . I have consented to pass for their adopted father for a while, I do not wish it anymore, and I have put some distance in between us."
The first step in this split came with Léon Morin, Priest (1961), a wartime piece about a priest's endeavors to bring redemption to the inhabitants of a small town. Produced by Carlo Ponti, it was a big-budget affair with Jean-Paul Belmondo and Emmanuelle Riva, both household names by then. On the strength of its favorable reception, Melville released four consecutive cops-and-robbers movies, the most notable of which were The Informer (1962) and The Samurai (1967). Belmondo again headlined in "Le Doulous", not as a clergyman but as the fingerman Silien, whose loyalty to his old mob cronies entangles him in a web of intrigue and disaster. During the making of "Le Samouraï", a hauntingly minimalist film about a doomed assassin, Melville's studio burned to the ground and the project was completed in rented facilities. Regardless, it was a critical and commercial success. Presenting Alain Delon as ultra-cool assassin Jef Costello, it was considered one of the most meticulously-crafted pictures in the history of the cinema. Delon would later star in a second masterpiece, The Red Circle (1970), featuring the ultimate onscreen jewel heist. His Charles Bronson-cum-Jack Lord sang-froid toughness served as a counterpoint in Melville's oeuvre to the lighter and less predictable Belmondo. Another memorable production was Army of Shadows (1969), an austere portrait of perfidy within the ranks of the French Resistance.
It is trite to say that a particular artist is "not for everyone." In Melville's case, this statement could not be more fitting. Despite a round belly and an unattractive face, he was a notorious womanizer, and his chauvinism is painfully obvious in his movies. They are cynical, male-driven works in which women are devoid of nobility, merely functioning as beautiful chess pieces. His men also lack spiritual depth, diligently playing out their roles toward the final showdown. A "profound moment" inevitably occurs before a mirror, a cliché for which many critics do not share the creator's enthusiasm. As a result of these peccadilloes, as well as its lack of back-stories and character motivations, Melville's later output has been accused of stiffness, with its wooden troupe of cops, crooks and general mauvais sujets. Further, well-structured plots notwithstanding, Melville films are methodically paced with tremendous attention paid to time and place. Hollywoodphiles often find them slow, with an overemphasis on tone and style.
Some have gone as far as to claim that the réalizateur's genius was outstripped by his importance to the development of the medium. They look to him as a sort of Moses figure, helping to guide the Nouvelle Vague to the promised land without partaking in its fruits. At his death by heart attack in 1973, the 55-year-old had directed just 14 projects, at least six of which are acknowledged classics. Aside from Godard and Truffaut, luminaries such as John Woo, Quentin Tarantino, Michael Mann, Volker Schlöndorff, Johnnie To and Martin Scorsese have pointed to him as an key influence. If a man's legacy is best measured not only by its quality but by the respect of his colleagues, Jean-Pierre Melville's contribution to cinema surely ranks with the greatest.- Actress
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London-born actress, daughter of the King's Counsel, St. John Field, educated in Paris and Vienna. Her mother, a cousin of famous Confederate General Robert E. Lee, chose the name "Virginia" as homage to Lee's beloved home state. Virginia also had an actress aunt, Auriol Lee, who paved the way for her debut on the stage. She first appeared in "This Side Idolatry" in 1933 (with Leslie Howard). She was later signed by 20th Century Fox (actually by standing in at a screen test as a favour to another actress), but was quickly typecast as the "other woman" or as perfunctory second fiddle to "Charlie Chan" and "Mr. Moto". She had greater success on Broadway, where she starred in the screwball comedy "The Doughgirls" (1942) at the Lyceum Theatre, and the Moss Hart farce "Light Up the Sky" (1948), with Sam Levene, Barry Nelson and Glenn Anders.- Actor
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Born in Kansas, Max Showalter picked up the "acting bug" as a toddler when mother used to take him to the local theater where she played the piano for silent movies. He acted in 92 shows at the Pasadena Playhouse between 1935 and '38, made his Broadway debut under the aegis of Oscar Hammerstein II in "Knights of Song" and acted for two years in the cast of Irving Berlin's traveling musical "This Is the Army." In addition to his films, TV appearances (over 1000), and stage shows, Showalter was a composer, a songwriter, and pianist. In his later years he lived in an 18th-century farmhouse in the Connecticut town he fell in love with while shooting the movie It Happened to Jane (1959).- Googie Withers began her acting career at the age of 12. She was dancing in the chorus in a West End revue when she was spotted by a Warner Brothers casting director. She went to do a screen test for them at the Riverside Studios and was invited to become an extra. On her first day at the filming of The Girl in the Crowd (1934) she arrived on the set just after Michael Powell had just sacked the second lead, and she was enlisted to play one of the lead roles.
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Making a career out of a post-nasal drip, this scene-stealing character comedienne was one of the best Broadway and Hollywood had to offer. It's too bad, then, that she wasn't utilized in films more often for this slight, chinless, parrot-faced, squawky-voiced bundle of (kill)joy could draw laughs from a well with a mere sniffle, gulp, or stare.
Plaintive Alice Pearce was born in New York City, the only child of a bank vice-president, but was raised in different European schools -- wherever her father had business. Eventually Alice settled back in NYC and began to gather experience in summer stock shows. She became a huge hit on the nightclub circuit which eventually paved the way to Broadway. She drew raves in the "New Faces of 1943" and was sensational in the role of Lucy Schmeeler, the sexless, adenoidal blind date, in the New York smash "On the Town" the very next year. As a testament to her talent, Alice was the only performer kept on board when Gene Kelly transferred the sailors-on-leave musical to film. Strangely, this did not lead to a slew of comedy vehicles, but Alice certainly sparked a number of fluffy films, even in the tiniest of roles -- never more so than as the hypochondriac patient who expounds on her physical ailments ad nauseam while overly-attentive Jerry Lewis suffers through a wrenching series of "sympathy pains" in The Disorderly Orderly (1964). It's slapstick comedy at its very best.
TV proved an attractive medium for her as well, hosting her own variety show briefly in 1949. Her career ended on a high note as the nagging, irrepressibly nosy neighbor Gladys Kravitz in the Bewitched (1964) sitcom. Ideally teamed with George Tobias as her hen-pecked husband, Abner, the two provided non-stop hilarity -- her frightened gulps, blank gaze and confused exasperation coupled with his dour disgust was comedy heaven. Sadly, Pearce developed ovarian cancer and died in 1966, only two seasons into the show. She was only 48. She quite deservedly won an Emmy trophy for her work a few months after her death. Hollywood lost a treasured talent in Alice Pearce, gone way before her time.- Actor
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Born in China, Kim Chan fled China in 1928 with his father Lem and two older sisters. Settling first in Rhode Island, then in New York, Kim left his family after his father caught him lying about an afternoon spent at the cinema. Faced with an ultimatum, Kim left for years as a day laborer, occasionally homeless, frequently sleeping on vermin-infested ironing boards.
Yet when he was not laboring in laundries and restaurants, Kim Chan sought work as an actor in film, television, and the theater. Many roles were small, often reflecting racial stereotypes - casting as a Japanese soldier was common in the 1940s. Chan's big break came only in 1983 with his comedic turn as Jonno, the butler to the late night talk show host Jerry Langford (Jerry Lewis) in Martin Scorsese's _The King of Comedy (1983)_. Since then he has appeared in numerous roles, seemingly never wanting for work.- William Rukard Hurd Hatfield was an American leading man best known for his portrayal of the title character in the Oscar-winning movie The Picture of Dorian Gray (1945). A native of New York, Hatfield came to England to study acting at the Chekhov Theatre Studio in Devonshire. He had resided in Ireland since the early 1970s. Despite numerous roles in scores of other movies, television and stage productions, he was forever associated with his starring role in the movie version of Oscar Wilde's classic novel.
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A genial, laid back, slumber-eyed character player especially adept at the relaxed wisecrack or dry comment, Japanese-American actor Jack Soo was born in Oakland, California, in 1917, his real name being Goro Suzuki. In the post-WWII years, he entertained as a stand-up performer in nightclubs and had made a reasonable dent on the Midwest circuit by the time he earned his big break playing the club MC/comedian in the Rodgers and Hammerstein hit Broadway musical "Flower Drum Song" in 1958. Three years later, Soo was upgraded to the Sammy Wong character in the film version and decided to settle in Hollywood. Over the next decade, despite a typical lack of roles for Asian-Americans, he managed to find a niche for his hip, deadpan demeanor on TV and a few other films including Who's Been Sleeping in My Bed? (1963), the musical Thoroughly Modern Millie (1967), and John Wayne's controversial pro-Vietnam War film The Green Berets (1968). Soo is probably best remembered for his smart-aleck Detective Sgt. Nick Yemana on Barney Miller (1975), one of the more popular sitcoms of the 1970s alongside Hal Linden and Abe Vigoda. Sadly, he died of cancer during the show's fifth season in 1979 at the height of his popularity.- Actor
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Born William John Hart in 1917, the Pennsylvania-born actor was the son of a professional ballplayer. He graduated from the University of Pittsburgh, then worked as a clothing salesman before deciding to give acting a try. He certainly had the requisite dreamboat looks as Columbia signed this blue-eyed, black-haired, extraordinary-looking specimen in 1939. Billed as Robert Sterling as not to confuse anyone with the silent screen legend William S. Hart, he was groomed in two-reeled shorts and bit parts in minor features but nothing much happened.
In 1941, MGM took him on as a possible replacement for another gorgeous Robert - Robert Taylor - who was about to join the Navy. Sterling married actress Ann Sothern in 1943 after meeting her on the set of Ringside Maisie (1941), one of several programmers in Sothern's "Maisie" series. They had a daughter, Patricia, who later became the actress Tisha Sterling. While at MGM he appeared in slick, "nice guy" second leads in such "A" films as Greta Garbo's swan song Two-Faced Woman (1941), Johnny Eager (1941) and Somewhere I'll Find You (1942), the last two starring Lana Turner, while starring in "B" rankers that included The Getaway (1941) and This Time for Keeps (1942). Sterling himself would serve during WWII with the Army Air Force as a pilot instructor and was stationed at one point in London.
His movie persona suggested more than a trace of the dapper playboy, and his carefree style and tone easily had Gig Young coming to mind. Robert's film career, however, lost major momentum in post-war years with rather pat, colorless parts in such action dramas as Bunco Squad (1950) and Column South (1953), and even in the splashy musical Show Boat (1951). Divorced from Ms. Sothern in 1949, he was introduced to actress Anne Jeffreys while making his Broadway debut in "Gramercy Ghost" down the block from where she was starring in the musical "Kiss Me Kate." The couple wed in 1951 and produced three sons. Robert and Anne (who was also having a down time in films by this point) decided to revive their faltering careers with a singing club act. Not only was their pairing a success, it led directly to their starring roles in the classic Topper (1953) comedy series on TV. As wry, debonair ghost George Kirby, he and Anne (playing his equally "spirited" wife Marion) expertly took over the jet-setting roles established on film by Cary Grant and Constance Bennett. The couple soon became household names engaging audiences week after week with their delightfully capricious antics and disappearing acts, much to the chagrin of bemused mortal Leo G. Carroll in the title role. Robert and Anne continued to perform together on stage ("Bells Are Ringing") and even top-lined another sitcom Love That Jill (1958) which lasted only a few months. After another failed series Ichabod and Me (1961), which was a solo effort, and a couple of pedestrian parts in the movies Return to Peyton Place (1961) (as Dr. Michael Rossi) (1961), Voyage to the Bottom of the Sea (1961) and A Global Affair (1964), Robert slacked off considerably. He made only one return to Broadway with the 1961 light comedy "Roman Candle" co-starring Inger Stevens and Julia Meade. The show folded quickly. By the late 1960s, Sterling was pretty much out of the picture.
He entered into what would become a lucrative computer business, and kept a decidedly low profile, prompting many fans to think that the ever-busy Anne Jeffreys was a widow! In truth, the couple made sporadic appearances together in the 70s and 80s in episodes of "Murder, She Wrote" and "Hotel," among others. During the last decade of his life, Sterling suffered greatly from shingles, which kept him confined to a bed for the most part. The man who was once deemed "the ghost with the most" died in his Brentwood home of natural causes at the age of 88.- A general utilitarian player on TV and film, Ross Elliott provided clean-cut, reliable support for over four decades. Born Elliott Blum on June 18, 1917 in New York City, Ross grew up in the Bronx and began appearing in plays while a teenage at both summer camps and in high school. He attended New York's City College upon graduation pursing both law and appearing in the college's dramatic productions. Acting won out in the long run after he received his degree in 1937.
Following variety show and summer stock work, Elliott became a member of Orson Welles Mercury Theatre and played minor parts on Broadway in "Julius Caesar" (modern version), "The Shoemaker's Holiday" and "Danton's Death." He also was a part of the notorious "War of the Worlds" broadcast on radio in 1938. He also stage toured with Welles in "Five Kings". His career was interrupted by a tour of duty in the Army. Appearing in several of their touring show, one of the better known was "This Is the Army". He would also appearing in the Warner Brothers' film version of This Is the Army (1943).
Elliott returned to professional acting following his honorable discharge and replaced Tom Ewell touring with Walter Huston in "Apple of His Eye". By 1947, he had relocated to Los Angeles and appeared in his first film The Burning Cross (1947) with a story involving the KKK. His four-decade career would include hundreds of movie and TV roles. His more visible clean-cut appearances occurred in the films Woman on the Run (1950), Hot Lead (1951), Woman in the Dark (1952), Problem Girls (1953), The Beast from 20,000 Fathoms (1953), Carolina Cannonball (1955), Indestructible Man (1956), Monster on the Campus (1958). Of the scores of parts he played on TV, from the dramas ("Perry Mason", "Death Valley Days", "The Adventures of Superman", "Lassie", "The Twilight Zone", "Voyage to the Bottom of the Sea", "Kung Fu", "The Mod Squad", "Dallas", "Little House on the Prairie", and "The A-Team") to the comedies ("The Dick Van Dyke Show", "Leave It to Beaver", "Hazel", "Here's Lucy", "The Doris Day Show", and "Phyllis"), Ross will be forever remembered as Lucy Ricardo's director in the classic Vitameatavegamin commercial episode of I Love Lucy (1951). In other "Lucy" episodes, he played Ricky Ricardo's publicity agent. He also played Virgil Earp in several episodes of The Life and Legend of Wyatt Earp (1955), appeared frequently as a straight man for Jack Benny on his long-running TV show, and played Sheriff Abbott in many segments of The Virginian (1962).
After several detours, his career waned in the 1970s and he turned to real estate. His last film was a small role in Scorpion (1986). He died of cancer at age 82 on August 12, 1999, and was cremated. - Hollis Irving was born on 16 July 1917 in Minneapolis, Minnesota, USA. She was an actress, known for Emergency! (1972), Blondie (1957) and Bewitched (1964). She was married to Charles Irving and Aaron Lionel Brill. She died on 28 December 2002 in San Francisco, California, USA.
- Pamela Brown trained at the Royal Academy of Dramatic Art (RADA). Her first appearance was as "Juliet" in "Romeo and Juliet" at Stratford-on-Avon in 1936. She followed this with a variety of roles for the Old Vic Company in London. She appeared on Broadway in the 1947 production of "The Importance of Being Earnest" by Oscar Wilde. Her screen debut was in One of Our Aircraft Is Missing (1942) for Michael Powell and Emeric Pressburger. She went on to star in two more of Powell's films and they lived together until her unfortunately early death from cancer. Her memorable face with eyes you can drown in & a resonant voice always made Pamela an actress worth watching. She was often cast as an eccentric or mysterious character which suited her perfectly.