Gay Actors Who Have Passed
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- Producer
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Dreamy Tab Hunter stood out in film history as one of the hottest teen idols of the 1950s era. With blond, tanned, surfer-boy good looks, he was artificially groomed and nicknamed "The Sigh Guy" by the Hollywood studio system, yet managed to continue his career long after his "golden boy" prime.
Hunter was born Arthur Kelm on July 11, 1931 in New York City, to Gertrude (Gelien) and Charles Kelm. His father was Jewish and his mother was a German Catholic immigrant. Following his parents' divorce, Hunter grew up in California with his mother, older brother Walter, and maternal grandparents, Ida (Sonnenfleth) and John Henry Gelien. His mother changed her sons' surnames to her maiden name, Gelien. Leaving school and joining the Coast Guard at age fifteen (he lied about his age), he was eventually discharged when the age deception was revealed. Returning home, his life-long passion for horseback riding led to a job with a riding academy.
Hunter's fetching handsomeness and trim, athletic physique eventually steered the Californian toward the idea of acting. An introduction to famed agent Henry Willson had Tab signing on the dotted line and what emerged, along with a major career, was the stage moniker of "Tab Hunter." Willson was also responsible with pointing hopeful Roy Fitzgerald towards stardom under the pseudonym Rock Hudson. With no previous experience Tab made his first, albeit minor, film debut in the racially trenchant drama The Lawless (1950) starring Gail Russell and Macdonald Carey. His only line in the movie was eventually cut upon release. It didn't seem to make a difference for he co-starred in his very next film, the British-made Island of Desire (1952) opposite a somewhat older (by ten years) Linda Darnell, which was set during WWII on a deserted, tropical South Seas isle. His shirt remained off for a good portion of the film, which certainly did not go unnoticed by his ever-growing legion of female (and male) fans.
Signed by Warner Bros., stardom was clinched a few years later with another WWII epic Battle Cry (1955), based on the Leon Uris novel, in which he again played a boyish soldier sharing torrid scenes with an older woman (this time Dorothy Malone, playing a love-starved Navy wife). Thoroughly primed as one of Hollywood's top beefcake commodities, the tabloid magazines had a field day initiating an aggressive campaign to "out" Hunter as gay, which would have ruined him. To combat the destructive tactics, Tab was seen escorting a number of Hollywood's lovelies at premieres and parties. In the meantime, he was seldom out of his military fatigues on film, keeping his fans satisfied in such popular dramas as The Sea Chase (1955), The Burning Hills (1956) and The Girl He Left Behind (1956)--the last two opposite the equally popular Natalie Wood. At around this time, Hunter managed to parlay his boy-next-door film celebrity into a singing career. He topped the charts for over a month with the single "Young Love" in 1957 and produced other "top 40" singles as well.
Like other fortunate celebrity-based singers such as Shelley Fabares and Paul Petersen, his musical reign was brief. Out of it, however, came the most notable success of his film career top-billing as baseball fan Joe Hardy in the classic Faustian musical Damn Yankees (1958) opposite Gwen Verdon and Ray Walston, who recreated their devil-making Broadway roles. Musically, Tab may have been overshadowed but he brought with him major star power and the film became a crowd pleaser. He continued on with the William A. Wellman-directed Lafayette Escadrille (1958) as, yet again, a wholesome soldier, this time in World War I. More spicy love scenes came with That Kind of Woman (1959), an adult comedy-drama which focused on soldier Hunter and va-va-voom mistress Sophia Loren demonstrating some sexual chemistry on a train.
Seldom a favorite with the film critics, the 1960s brought about a career change for Tab. He begged out of his restrictive contract with Warners and ultimately paid the price. With no studio to protect him, he was at the mercy of several trumped-up lawsuits. Worse yet, handsome Troy Donahue had replaced him as the new beefcake on the block. With no film offers coming his way, he starred in his own series The Tab Hunter Show (1960), a rather featherweight sitcom that centered around his swinging bachelor pad. The series last only one season. On the positive side he clocked in with over 200 TV programs over the long stretch and was nominated for an Emmy award for his outstanding performance opposite Geraldine Page in a Playhouse 90 episode. Following the sparkling film comedy The Pleasure of His Company (1961) opposite Debbie Reynolds, the quality of his films fell off drastically as he found himself top-lining such innocuous fare as Operation Bikini (1963), Ride the Wild Surf (1964) (1965), City in the Sea (1965) [aka War-Gods of the Deep], and Birds Do It (1966) both here and overseas.
As for stage, a brief chance to star on Broadway happened in 1964 alongside the highly volatile Tallulah Bankhead in Tennessee Williams's "The Milk Train Doesn't Stop Here Anymore." It lasted five performances. He then started to travel the dinner theater circuit. Enduring a severe lull, Tab bounced back in the 1980s and 1990s -- more mature, less wholesome, but ever the looker. He gamely spoofed his old clean-cut image by appearing in delightfully tasteless John Waters' films as a romantic dangling carrot to heavyset transvestite "actress" Divine. Polyester (1981) was the first mainstream hit for Waters and Tab went on to team up with Allan Glaser to co-produce and co-star a Waters-like western spoof Lust in the Dust (1984).
Co-starring with "Exorcist" star Linda Blair in the bizarre horror film Grotesque (1988), Tab's last on-camera appearance would be in a small role in the film Dark Horse (1992), which he produced. He preferred spending most of his time secluded on his ranch and breeding horses. In 2005, he returned to the limelight when he "came out" with a tell-all memoir on his Hollywood years. His long-time partner was film producer Allan Glaser.
Tab died on July 8, 2018, in Santa Barbara, California, three days shy of his 87th birthday.--Damn Yankees--
--Lust In The Dust--
--Polyester--
--The Burning Hills--- Actor
- Writer
- Producer
For such a diminutive (4' 11") frame, character actor Leslie (Allen) Jordan had a tall talent for scene-stealing. Hailing from the South, as his dead-giveaway drawl quickly exposed, he was born in Memphis, Tennessee, on April 29, 1955, and raised in a highly conservative, deeply religious atmosphere in Chattanooga, Tennessee. His father, a Lieutenant Colonel with the Army, was killed in a plane crash when he was only 11.
Uncertain about his direction in life, an inescapable propensity for comedy and high camp, not to mention an impish mug and pocket-sized structure, led him straight to Los Angeles in an attempt to break into commercials and on-camera work. Following training with acting coach Carolyne Barry, who ran the Professional Artist's Group during the 80s, Leslie soon found himself highly marketable in commercial spots (Doritos, Fosters Beer, etc.). TV would invariably be the next step, finding him progressively better parts on such programs as "The Fall Guy," "The Wizard," "Night Court," "Newhart" and "Midnight Caller." He then earned a regular role on the short-lived comedy-fantasy series The People Next Door (1989) starring Alan Parker. Inspired by "The Far Side" comic strip, the show starred Jeffrey Jones as a cartoonist who could materialize his wild imagination.
Leslie began in films in the late 1980s with a bit part in the Richard Pryor comedy Moving (1988) and followed it with the role of Iggy, a hunch-backed Igor counterpart, in the whacked horror spoof Frankenstein General Hospital (1988) starring comic actor Mark Blankfield as the mad doctor. In primarily low-budget film projects at the onset, Leslie was part of such off-the-wall material as Ski Patrol (1990), Missing Pieces (1991), Hero (1992), Jason Goes to Hell (1993), Barcelona (1994), Eat Your Heart Out (1997) and Black Velvet Pantsuit (1995), to name a few.
Into the 1990s, Leslie involved himself more and more into writing. Avid L.A. theatergoers would recognize him for such prone-to-misfit characters as Brother Boy, an institutionalized drag queen, in "Sordid Lives," and Peanut, a habitual barfly, in "Southern Baptist Sissies." His own one-man testimonials, such as the off-Broadway "Hysterical Blindness" and "Like a Dog on Linoleum," display his adeptness at baring his soul and exposing his childhood agonies on stage amid laughter and tears. These highly introspective shows, however, came at a price. A self-proclaimed substance abuser and sexaholic, Jordan finally faced his inner demons and reached full recovery in 1996.
TV was an exceptionally inviting medium over the years with a number of offbeat roles coming his way. Noted for his catchy guest work on such shows as Murphy Brown (1988), Lois & Clark: The New Adventures of Superman (1993), Caroline in the City (1995), Star Trek: Voyager (1995), and Weird Science (1994), among many others, he was also a supporting regular on various series including the comedy Top of the Heap (1991) starring Joseph Bologna and pre-Friends (1994), Matt LeBlanc; the legal series Reasonable Doubts (1991) in a season (1992-1993) as an assistant public defender; the crime drama Bodies of Evidence (1992) starring Jennifer Hortin and George Clooney; and the John Ritter/Markie Post romantic comedy Hearts Afire (1992).
Into the millennium, he got to experienced the joy of seeing one of his own writing projects come to full fruition with the semi-autobiographical film Lost in the Pershing Point Hotel (2000). He was also given the chance to recreate his "Big Brother" role in Sordid Lives (2000) to the big screen. The work continued to flow in such film supports as I'll Wave Back (2000), The Gristle (2001), Moving Alan (2003), the short film Farm Sluts (2003), Madhouse (2004), another short film Sissy Frenchfry (2005), Undead or Alive: A Zombedy (2007), Eating Out: All You Can Eat (2009), Mangus! (2011), the critically-acclaimed [link=tt1454029, his stage role as "Peanut" in the gay-themed Southern Baptist Sissies (2013) written and directed by Del Shores, another co-star role as an HOA "dictator" in Whoa! (2013), Lucky Dog (2015), Fear, Inc. (2016), the "Sordid Lives" sequel A Very Sordid Wedding (2017) and the romantic film Until We Meet Again (2022).
TV was even better to him with both delightful and sadly touching work on such series as Ally McBeal (1997), Boston Public (2000), Judging Amy (1999), Monk (2002), Reba (2001), Boston Legal (2004), Ugly Betty (2006), Desperate Housewives (2004), Raising Hope (2010), and American Horror Story (2011). The topper, however, was Leslie's dryly cynical, part-time role as mincing elitist Beverley Leslie, the tiny thorn in Megan Mullally's backside on the resoundingly popular sitcom Will & Grace (1998). Leslie went on to earn an Emmy trading wicked barbs with Mullally's Karen character, playing the hilarity up for all its worth. He also appeared in the cult TV movie The Last Sharknado: It's About Time (2018).—Sordid Lives—
—The Help—
—Will And Grace—
—American Horror Story—- Actor
- Producer
- Director
Roderick Andrew Anthony Jude McDowall was born in Herne Hill, London, to Winifriede Lucinda (Corcoran), an Irish-born aspiring actress, and Thomas Andrew McDowall, a merchant seaman of Scottish descent. Young Roddy was enrolled in elocution courses at age five. By age 10, he had appeared in his first film, Murder in the Family (1938), playing Peter Osborne, the younger brother of sisters played by Jessica Tandy and Glynis Johns.
His mother brought Roddy and his sister to the U.S. at the beginning of World War II, and he soon got the part of "Huw", the youngest child in a family of Welsh coal miners, in John Ford's How Green Was My Valley (1941), acting alongside Walter Pidgeon, Maureen O'Hara and Donald Crisp in the film that won that year's best film Oscar. He went on to many other child roles, in films like My Friend Flicka (1943) and Lassie Come Home (1943) until, at age eighteen, he moved to New York, where he played a long series of successful stage roles, both on Broadway and in such venues as Connecticut's Stratford Festival, where he did Shakespeare. He became a naturalized United States citizen in 1949.
In addition to making many more movies (over 150), McDowall acted in television, developed an extensive collection of movies and Hollywood memorabilia, and published five acclaimed books of his own photography. He died at his Los Angeles home, aged 70, of cancer. He never married and had no children.--How Green Was My Valley--
--Cleopatra--
--Lord Love A Duck--
--Planet Of The Apes--- Actor
- Soundtrack
Born in New York City of humble means, character player James Coco was the son of Feliche, an Italian shoemaker, and Ida (Detestes) Coco. Shining shoes as a youngster with his father, his interest in acting occurred early on as a child. At age 17 he toured with a children's theatre troupe for three years portraying Old King Cole and Hans Brinker. Intensive study with acting guru Uta Hagen led to his Broadway debut at age 29 in "Hotel Paradiso" in 1957, but he earned his first acting award, an Obie, for his performance in the 1961 off-Broadway production of "The Moon in Yellow River". He went on to win a second and third Obie for his performances in the plays "Fragments" (1967) and "The Transfiguration of Benno Blimppie" (1977). Dark, hefty and prematurely balding, he proved to be a natural on the comedy stage and in scores of commercials (notably as Willy the plumber in the Drano ads) throughout the 1960s. Other comedy theater highlights included roles in "Auntie Mame," "Everybody Loves Opal," "A Shot in the Dark," "Bell, Book and Candle" and "You Can't Take It With You".
In the late 60s he formed a strong collaboration with playwright Terrence McNally and appeared in an off-Broadway double-bill of his one-act plays (his one-act was entitled "Witness") in 1968, followed by "Here's Where I Belong" a failed 1968 Broadway musical variation of the Steinbeck play "East of Eden" that closed on opening night. Their most notable alliance occurred the following year with the play "Next," which ran more than 700 performances and earned Coco a Drama Desk award. Sixteen years later, and shortly before Coco's death, the two reunited for the 1985 Manhattan Theatre Club production of "It's Only a Play".
Coco also earned kudos for his work in Neil Simon comedies, and "The Last of the Red Hot Lovers" (1969), which was specifically written for him, earned him a Tony Award nomination as Best Actor. The two later joined forces for a Broadway revival of the musical "Little Me" and the hilarious film comedy spoofs Murder by Death (1976) and The Cheap Detective (1978), in addition to his moving support role as Marsha Mason's depressed gay actor/friend in Only When I Laugh (1981), which garnered his sole Oscar nomination.
Achieving stardom first on stage, Coco's other films were a mixed bag with more misses (Ensign Pulver (1964), Man of La Mancha (1972) (as Sancho Panza), The Wild Party (1975), Scavenger Hunt (1979)) than hits (A New Leaf (1971)). On the TV screen, Coco fronted two short-lived 1970s comedy series, Calucci's Department (1973) and The Dumplings (1976), and also appeared in daytime soaps (The Edge of Night (1956) and "The Guiding Light"). Throughout his career he played an amusing number of characters on such sitcoms as Maude (1972) and Alice (1976) and also played bathos and pathos to great effect, not only winning an Emmy for his dramatic performance on a St. Elsewhere (1982) episode but appearing opposite Doris Roberts as the brittle Van Daan couple in the TV version of The Diary of Anne Frank (1980). One of his last TV assignments was a recurring role on the sitcom "Who's The Boss?" in 1986-1987.
In his last years, Coco received attention for his culinary talents and best-selling cookbooks. The James Coco Diet, an educational book which included chapters on menu planning and behavior modification as well as choice recipes), was just one that he promoted on the talk show circuit. It is probably not a coincidence that he often played characters with extreme food issues. Suffering from obesity (5'10", 250 lbs.) for most his adult life, the talented actor died unexpectedly of a heart attack in New York City in 1987 at the age of 56, and was buried in St. Gertrude's Roman Catholic Cemetery in Colonia, New Jersey.--Man Of La Mancha--
--The Wild Party---
--Murder By Death--
--Only When I Laugh--- Actor
- Soundtrack
Murray Melvin was born on 10 August 1932 in St. Pancras, London, England, UK. He was an actor, known for The Phantom of the Opera (2004), A Taste of Honey (1961) and Barry Lyndon (1975). He died on 14 April 2023 in Westminster, London, England, UK.—A Taste Of Honey—
—The Boy Friend—
—The Devils—
—Barry Lyndon—- Actor
- Music Department
- Additional Crew
Salvatore (Sal) Mineo Jr. was born to Josephine and Sal Sr. (a casket maker), who emigrated to the U.S. from Sicily. His siblings were Michael, Victor and Sarina. Sal was thrown out of parochial school and, by age eight, was a member of a street gang in a tough Bronx neighborhood. His mother enrolled him in dancing school and, after being arrested for robbery at age ten, he was given a choice of juvenile confinement or professional acting school.
He soon appeared in the theatrical production "The Rose Tattoo" with Maureen Stapleton and Eli Wallach and as the young prince in "The King and I" with Gertrude Lawrence and Yul Brynner. At age 16 he played a much younger boy in Six Bridges to Cross (1955) with Tony Curtis and later that same year played Plato in James Dean's Rebel Without a Cause (1955). He was nominated for Best Supporting Actor for his performance in this film and again for his role as Dov Landau in Exodus (1960).
Expanding his repertoire, Mineo returned to the theatre to direct and star in the play "Fortune and Men's Eyes" with successful runs in both New York and Los Angeles. In the late 1960s and 1970s he continued to work steadily in supporting roles on TV and in film, including Dr. Milo in Escape from the Planet of the Apes (1971) and Harry O (1973). In 1975 he returned to the stage in the San Francisco hit production of "P.S. Your Cat Is Dead". Preparing to open the play in Los Angeles in 1976 with Keir Dullea, he returned home from rehearsal the evening of February 12th when he was attacked and stabbed to death by a stranger. A drifter named Lionel Ray Williams was arrested for the crime and, after trial in 1979, convicted and sentenced to life in prison for the murder, but was paroled in 1990. Although taken away far too soon, the memory of Sal Mineo continues to live on through the large body of TV and film work that he left behind.--Rebel Without A Cause--
--Giant--
--Exodus--
--The Gene Krupa Story--- Actor
- Soundtrack
Hayden Rorke was best known as the ever suspicious "Dr. Alfred E. Bellows" on the 1960s TV series, I Dream of Jeannie (1965). Born in Brooklyn, New York, Rorke was educated at the American Academy of Dramatic Arts, and he began his stage career in the 1930s with the Hampden Theatrical Company. A veteran of numerous Broadway shows, he made his film debut in the musical, This Is the Army (1943), while in the service during World War II. His films included: An American in Paris (1951), Pillow Talk (1959) and When Worlds Collide (1951). A familiar face on TV during the 1950s, Rorke appeared on numerous shows including: The Twilight Zone (1959), Perry Mason (1957), Broken Arrow (1956) and Cheyenne (1955). His final appearance was reprising the role of "Dr. Bellows" in the TV movie: I Dream of Jeannie... Fifteen Years Later (1985).--I Dream Of Jeannie--
--The Unsinkable Molly Brown--
--Pillow Talk--
--Midnight Lace--- Actor
- Director
- Additional Crew
David Ogden Stiers was born in Peoria, Illinois, to Margaret Elizabeth (Ogden) and Kenneth Truman Stiers. He moved with his family to Eugene, Oregon, where he graduated from North Eugene High School in 1960. At the age of twenty, he was offered $200 to join the company of the Santa Clara Shakespeare Festival for three months. He ended up staying for seven years, in due course playing both King Lear and Richard III. In 1969, he moved to New York to study drama at Juilliard where he also trained his voice as a dramatic baritone. He joined the Houseman City Center Acting Company at its outset, working on such productions as The Beggar's Opera, Measure for Measure, The Hostage and the hit Broadway musical The Magic Show for which he created the character 'Feldman the Magnificent'. He lent his voice to animated films, with Lilo & Stitch (2002) being his 25th theatrically-released Disney animated film. He was also an avid fan of classical music and conducted a number of orchestras, including the Yaquina Chamber Orchestra in Newport, Oregon, where was the principal guest conductor.
His other theatrical work included performances with the Committee Revue and Theatre, the San Francisco Actor's Workshop, The Old Globe Theatre Festival in San Diego and at the Pasadena Playhouse in Love Letters with Meredith Baxter. As a drama instructor, he worked at Santa Clara University and also taught improvisation at Harvard. In addition to his long-running role in M*A*S*H (1972), Stiers' work on television also included the excellent mini-series North & South: Book 1, North & South (1985), North & South: Book 2, Love & War (1986), The First Olympics: Athens 1896 (1984) and roles in such productions as Anatomy of an Illness (1984), The Bad Seed (1985), J. Edgar Hoover (1987), The Final Days (1989), Father Damien: The Leper Priest (1980) and Mrs. Delafield Wants to Marry (1986). Among his screen credits were The Accidental Tourist (1988), The Man with One Red Shoe (1985), Creator (1985), Harry's War (1981), Magic (1978) and Oh, God! (1977).
Above all, the prodigious talent that was David Ogden Stiers will be most fondly remembered as the pompous, ever-so articulate Major Charles Emerson Winchester III in M*A*S*H. He had found that taking on the role was -- from the beginning -- an easy choice. Stiers saw and loved the movie version. Moreover, he had a fond regard of fellow actor Harry Morgan (who played the character of Colonel Potter) as a kind of fatherly role model. In retrospect, Stiers viewed his experiences with the show as a career highlight, saying "No matter how much you read about the M*A*S*H company, the evolution of it, the quite beautiful human stance it takes, you will not know how much it means ". In his spare time on the set he often annoyed the security guards by skateboarding at 25 miles an hour and "cheerfully thumbing his nose at them".
David died of bladder cancer on March 3, 2018, in Newport, Oregon. He was 75.- Actor
- Casting Director
- Additional Crew
Michael Greer was an actor and comedian. His most famous role was as Queenie, the prison drag queen in Sal Mineo's stage and the Harvey Hart film versions of "Fortune and Men's Eyes" (Fortune and Men's Eyes (1971)), which dealt with sex in prison. Mr. Greer appeared as Don Johnson's friend in the 1960s cult film The Magic Garden of Stanley Sweetheart (1970). That movie was also Don Johnson's big screen debut. Other credits include the B-Movie sex comedy Summer School Teachers (1975) and The Gay Deceivers (1969) about two guys avoiding combat in Vietnam by pretending to be gay. He also had bit parts in the Steve Martin comedy The Lonely Guy (1984) and the Bette Midler vehicle The Rose (1979)
Michael was also famous for his live performances as a comedian. Of particular note was a monologue, as the Mona Lisa, holding a giant gilded frame around himself.
He wrote supplemental material for Debbie Reynolds Vegas act, and was once called in to dub Bette Davis' voice when she refused to loop over scenes.
Greer was somewhat a victim of early "gaysploitation" films. A talented actor, it never occurred to him that once he had turned in solid performances as designated that he would not be allowed to work as much else, partially because no one had done it before.
He is not acknowledged much in gay cinema because of a climate of political correctness. He is probably more accurately remembered by friends, colleagues, and punters that saw his live work, than by Hollywood.--Fortune In Men's Eyes--
--The Gay Deceivers--
--The Magic Garden Of Stanley Sweetheart--
--Messiah Of Evil--
--The Rose--- Actor
- Producer
Jack Edward Larson was born in Los Angeles, California, to Anita (Calicoff) and George E. Larson. He was raised in Pasadena, and attended Pasadena Junior College (by coincidence, exactly as did his Adventures of Superman (1952) co-star George Reeves). He was a contract player at Warner Bros. Typecast as Jimmy Olsen, Larson found it virtually impossible to get other acting roles after the series went off the air and retired from acting a few years later, concentrating on writing. His plays have been highly acclaimed and he has had works performed in theaters and opera houses around the world. He was the longtime companion of late director James Bridges, with whom he co-produced a number of popular films of the 1970s and 1980s. Larson was an erudite and charming man who seems to have been close friends with many of the more prominent figures of the arts in the latter half of the 20th century, including Virgil Thomson, John Houseman, Leslie Caron, Libby Holman, Montgomery Clift, Salka Viertel, Christopher Isherwood and James Dean. Larson died of natural causes while relaxing on the deck of his Frank Lloyd Wright-designed home in the Brentwood section of Los Angeles, at the age of 87.--The Adventures of Superman--
--Kid Monk Baroni--
--Man Crazy--
--Bob's New Suite--- Actor
- Additional Crew
- Soundtrack
Signifying intelligence, eloquence, versatility and quiet intensity, one of the more important, critically acclaimed black actors to gain a Hollywood foothold in the 1970s was Paul Winfield. He was born in 1939 in Dallas, Texas, where he lived in his early years before moving with his family to Los Angeles' Watts district. He showed early promise as a student at Manual Arts High School, earning distinction with several performance awards. As a senior, he earned his first professional acting job and extended his theatrical education with a two-year scholarship to the University of Portland in Oregon. Subsequent scholarships led to his studies at Stanford and Los Angeles City College, among other colleges. He left U.C.L.A. just six credits short of his Bachelor's degree.
Paul's first big break came in 1964 when actor/director Burgess Meredith gave him a role in Le Roi Jones' controversial one-act play "The Dutchman and the Toilet". Director Meredith cast him again four years in "The Latent Heterosexual" with Zero Mostel. Although he won a contract at Columbia Pictures in 1966 and built up his on-camera career with a succession of television credits, he continued to focus on the legitimate stage. A member of the Stanford Repertory Theatre, he concentrated on both classic and contemporary plays. In 1969, Paul joined the Inner City Cultural Center Theatre in Los Angeles for two years, which offered a drama program for high school students.
In the late 1960s, Paul redirected himself back to performing on television and in films with guest work in more than 40 series on the small screen, including a boyfriend role on the first season of the landmark black sitcom Julia (1968) starring Diahann Carroll. In films, he was given a featured role in the Sidney Poitier film The Lost Man (1969), and earned comparable roles in R.P.M. (1970) and Brother John (1971) before major stardom occurred.
1972 proved to be a banner year for Paul after winning the male lead opposite Cicely Tyson in the touching classic film Sounder (1972). His towering performance as a sharecropper who is imprisoned and tortured for stealing a ham for his impoverished family earned him an Oscar nomination for "Best Actor" -- the third black actor (Sidney Poitier and James Earl Jones preceded him) to receive such an honor at the time.
From there a host of films and quality television roles began arriving on his doorstep. In mini-movies, Paul portrayed various historical/entertainment giants including Thurgood Marshall, Don King and baseball's Roy Campanella, and was Emmy-nominated for his portrayal of Martin Luther King, Jr. in King (1978) with Sounder co-star Cicely Tyson as wife Coretta. Throughout the 1970s and 1980s, he earned solid distinction in such prestige projects as Backstairs at the White House (1979), Roots: The Next Generations (1979) (another Emmy nomination), The Sophisticated Gents (1981), The Blue and the Gray (1982), Sister, Sister (1982), James Baldwin's Go Tell It on the Mountain (1985), Under Siege (1986) and The Women of Brewster Place (1989).
Although the big screen did not offer the same consistent quality following his breakthrough with Sounder, he nevertheless turned in strong roles in Conrack (1974), Huckleberry Finn (1974), A Hero Ain't Nothin' But a Sandwich (1977) (again with Ms. Tyson), Damnation Alley (1977), Star Trek II: The Wrath of Khan (1982) and White Dog (1982).
Surprisingly, Paul never achieved the promise of a Sidney Poitier-like stardom and his roles diminished in size. Relegated to character roles, he still appeared in such quality television as Breathing Lessons (1994), although he was not the major focus. After two nominations, he finally won the Emmy for a guest performance as a judge on Picket Fences (1992). Paul's showier work at this period of time included the film Catfish in Black Bean Sauce (1999) and a surprise cross-dressing cameo as Aunt Matilda in Relax... It's Just Sex (1998).
On stage, Paul graced such productions as "Richard III" (at New York's Lincoln Center Theatre), "Othello", "The Merry Wives of Windsor", "The Seagull", "A Few Good Men", "Happy Endings" and "Checkmates", which became his sole Broadway credit. Paul also served as Artist in Residence at the University of Hawaii and subsequently at the University of California at Santa Barbara.
In his final years, Winfield narrated the A&E crime series City Confidential (1998), appeared as a teacher in a television adaptation of his earlier success Sounder (2003), and enjoyed a recurring role as Sam for many years on the series Touched by an Angel (1994).
Suffering from obesity and diabetes in later life, Paul Winfield passed away from a heart attack at age 64 in 2004, and was survived by a sister, Patricia. His longtime companion of 30 years, set designer and architect Charles Gillan Jr. predeceased him by two years.--Sounder--
--Mike's Murder--
--The Terminator--
--Conrack--- Actor
- Additional Crew
- Soundtrack
The son of a surveyor, Charles Gray was born and raised in Queen's Park, Bournemouth. As a young actor, he received his vocal training from the Royal Shakespeare Company in Stratford-upon-Avon and at the Old Vic, having long abandoned his first job as clerk for a real estate agent. His voice was to become one of his most valuable tools. In fact, from January 1966, he subtly, almost imperceptibly, dubbed for Jack Hawkins after this actor became unable to speak his lines due to throat cancer. In later years, Gray's trademark voice was regularly heard on television commercials.
Gray's theatrical debut came in 1952 in the part of Charles the Wrestler (he measured 6 foot, 1 inches in height) in "As You Like It", appearing under his original name, 'Donald Gray'. From 1956, as 'Charles' Gray (since there already was a one-armed actor named Donald Gray), he took to leading dramatic roles, and won critical plaudits as Achilles in "Troilus and Cressida", Macduff in "Macbeth" and as the gluttonous Sir Epicure Mammon in Tyrone Guthrie's up-dated version of "The Alchemist", in 1962. He repeated his Old Vic performance as Henry Bolingbroke for his Broadway debut at the Winter Garden Theatre in 1956. A notable later performance, while touring the U.S. and Canada, was as the Prince of Wales in Peter Stone's tale of the famous 19th century actor Edmund Kean ("Kean", 1961). In 1964, Gray won the Clarence Derwent Award as Best Supporting Actor for his part in the controversial play "Poor Bitos", by Jean Anouilh, co-starring Donald Pleasence. He was offered his first role on the big screen, reprising a success on the West End stage in 1958, as Captain Cyril Mavors,in the satirical musical Expresso Bongo (1959).
For the next forty years, heavy-set, silver-haired, jut-jawed Charles Gray used his imposing frame and mellifluous voice to great effect in creating for the screen a memorable gallery of egocentric, imperious toffs, and suave, sardonic super-villains. While his performances at times verged on the camp, Gray cheerfully allowed himself to be cast within his range of basically unsympathetic characters, which he could play well and with ease. He tended to favour television as his preferred medium, though some of his most popular roles were for the big screen. Among his niche of staple characters were the coldly pompous military heavies (General Gabler in The Night of the Generals (1967), or the perpetually sneering, overbearing upper-class twits (true-to-form, as defecting spy Hillary Vance in the Thriller (1973) episode "Night is the Time for Killing"). At his evil best, he was commanding as the demonic acolyte Mocata, in The Devil Rides Out (1968) and as the feline-stroking, velvety-voiced nemesis of James Bond, Ernst Stavro Blofeld, in Diamonds Are Forever (1971). He was also suitably sinister as Bates the Butler, one of the red herrings of Agatha Christie's The Mirror Crack'd (1980).
Gray's recurring roles included Lord Seacroft (senior, as well as junior) in the short-lived satirical miniseries The Upper Crusts (1973) as a down-on-his-heels aristocrat, keeping up appearances after being forced to live in a high-rise housing estate; and as the sedentary brother of the famous sleuth at 221b Baker Street, Mycroft, in The Seven-Per-Cent Solution (1976). Later, he was utilised as temporary replacement, first for Edward Hardwicke,and, subsequently, for the hospitalised star Jeremy Brett, in Granada Television's various instalments of the Sherlock Holmes saga (1985-1994). Gray died of cancer in March 2000, aged 71.--Rocky Horror Picture Show--
--Shock Treatment--
--Diamonds Are Forever--
--The Mirror Crack'd--- Actor
- Writer
- Soundtrack
Anthony Holland was born on 3 March 1928 in Brooklyn, New York, USA. He was an actor and writer, known for All That Jazz (1979), Klute (1971) and The Lonely Lady (1983). He died on 9 July 1988 in New York City, New York, USA.--The Out Of Towners--
--All That Jazz--
--Klute--
--The Sentinel--- Actor
- Soundtrack
Van Johnson was the fresh-faced, well-mannered nice guy on screen you always wanted your daughter to marry! This fair, freckled and invariably friendly-looking MGM song-and-dance star of the 40s emerged a box office favorite (1944-1946) and second only to heartthrob Frank Sinatra during what gossip monger Hedda Hopper dubbed the "Bobby-soxer Blitz" era. Johnson's musical timing proved just as adroit as his legit career timing for he was able to court WWII stardom as a regimented MGM symbol of the war effort with an impressive parade of earnest soldiers. He may have been a second tier musical star behind the likes of Fred Astaire and Gene Kelly, but his easy smile, wholesome, boy-next-door appeal and strawberry-blond good looks made him a solid box-office attraction while MGM's "big boys" were off to war.
Born Charles Van Dell Johnson in Newport, Rhode Island, on August 25, 1916, Van was the only child of Loretta (Snyder) and Charles E. Johnson. His paternal grandparents were Swedish, and his mother was of German, and a small amount of Irish, ancestry. Johnson endured a lonely and unhappy childhood as the sole offspring of an extremely aloof father (who was both a plumber and real estate agent by trade) and an absentee mother (she abandoned the family when he was three, the victim of alcoholism). A paternal grandmother helped in raising the young lad. Happier times were spent drifting into the fantasy world of movies, and he developed an ardent passion to entertain. Taking singing, dancing and violin lessons during his high school years, he disregarded his father's wish to become a lawyer and instead left home following graduation to try his luck in New York.
Early experiences included chorus lines in revues, at hotels and in various small shows around town. A couple of minor breaks occurred with his 40-week stint in the "New Faces of 1936" revue (making his Broadway debut) and in a vaudeville club act (based around star Mary Martin) called "Eight Young Men of Manhattan" that played the Rainbow Room. He served as understudy to the three male leads of Rodgers and Hart's popular musical "Too Many Girls" in October of 1939 and eventually replaced one of them (actor Richard Kollmar left the show to marry reporter Dorothy Kilgallen.) He also formed a lifelong and career-igniting friendship with one of the other leads, Desi Arnaz.
Johnson made an inauspicious film debut with Arnaz in Too Many Girls (1940) when the musical was eventually lensed in Hollywood, but he was cast in a scant chorus boy part. Following a stint on Broadway in "Pal Joey" in 1940, Warner Bros. signed Van to a six-month contract. He went on to co-star with Faye Emerson in Murder in the Big House (1942), but they dropped him quickly feeling that his acting chops were lacking. It was Arnaz's wife Lucille Ball, who had recently signed with MGM, who introduced Van to Billy Grady, MGM's casting head, and instigated a successful screen test.
With the studio's top male talent off to war, Van (along with Peter Lawford) served as an earnest substitute donning fatigues in such stalwart movies as Somewhere I'll Find You (1942) The War Against Mrs. Hadley (1942) and The Human Comedy (1943). In addition, he replaced actor/war pacifist Lew Ayres in the "Dr. Kildare/Dr. Gillespie" film series after Ayres was unceremoniously dumped by the studio for his unpopular beliefs.
Stardom came, and at quite a price, for Van when he was cast yet again as a wholesome serviceman in A Guy Named Joe (1943). During the early part of filming, he was severely injured in a near-fatal car crash (he had a metal plate inserted in his skull, which instantly gave him a 4-F disqualification status for war service). Endangered of being replaced on the film, the two stars of the picture, Spencer Tracy (who became another lifelong friend) and Irene Dunne, insisted that the studio work around his convalescence or they would quit the film. The unusually kind gesture made Van a star following the film's popular release and resulting publicity. Van's career soared during the war years, making him and Lawford the resident heartthrobs not only in musicals (Two Girls and a Sailor (1944), Easy to Wed (1946)), but in airy comedies (Week-End at the Waldorf (1945)) and, of course, more war stories (Thirty Seconds Over Tokyo (1944)).
When the big stars such as Clark Gable, James Stewart and Robert Taylor returned to reclaim post-war stardom, Van willingly relinquished his "golden boy" pedestal, but he remained a high profile musical star opposite the likes of June Allyson, Esther Williams and Judy Garland. He continued to demonstrate his dramatic mettle in such well-regarded films as Command Decision (1948), State of the Union (1948), Battleground (1949), Brigadoon (1954) and The Caine Mutiny (1954) and remained a popular star for three more decades. When MGM's "golden age" phased out by the mid-1950s, Van's movie career took a sharp decline and the studio released him after he co-starred with Elizabeth Taylor in The Last Time I Saw Paris (1954).
While Van continued working as a freelancer in such as the English-made The End of the Affair (1955) with Deborah Kerr; Miracle in the Rain (1956) opposite Jane Wyman, The Bottom of the Bottle (1956) with Joseph Cotten, 23 Paces to Baker Street (1956) co-starring Vera Miles, Kelly and Me (1956) partnered with a dog, and Web of Evidence (1959), he again capitalized on his musical talents by reinventing himself as a nightclub performer and musical stage star on the regional and dinner theater circuits, including "The Music Man," "Damn Yankees," "Guys and Dolls," "Bells Are Ringing," "On a Clear Day...," "Forty Carats," "Bye Bye Birdie," "There's a Girl in My Soup" and "I Do! I Do!"
Van delved heavily into TV from the late 1960's on and served as a guest on such shows as "Laugh-In," "The Name of the Game," "The Red Skelton Show," "Nanny and the Professor," "The Virginian," "The Doris Day Show," "Love, American Style," "Maude," "Quincy," "McMillan & Wife," "The Love Boat," "Fantasy Island" and "Murder, She Wrote." He earned an Emmy nomination for his participation in the mini-series Rich Man, Poor Man (1976), and co-starred or was featured in such TV movies as Call Her Mom (1972), Superdome (1978), Black Beauty (1978), Getting Married (1978) and Three Days to a Kill (1992).
In later years, he grew larger in girth but still continued to work. He earned respectable reviews after replacing Gene Barry as Georges in the smash gay musical "La Cage Aux Folles" in 1985. His last musical role was as Cap' Andy in "Show Boat" in 1991, and his last several movies were primarily filmed overseas in Italy and Australia. Occasional featured roles on film in later years included Concorde Affaire '79 (1979), The Kidnapping of the President (1980), The Purple Rose of Cairo (1985), Killer Crocodile (1989), Delta Force Commando II: Priority Red One (1990) and Clowning Around (1992).
Van was married only once but it was the constant source of tabloid news. Typically in the closet as a high-ranking actor of the 1940s, he was extremely close friends with fellow MGM actor Keenan Wynn and his wife. Shockingly, Van wound up marrying Wynn's ex-wife, one-time stage actress Evie Wynn Johnson, immediately after the Wynn's divorced in 1947. Van and Eve went on to have one child, daughter Schuyler, in 1948, and were a popular Hollywood couple before separating after fifteen years of marriage. The marriage ended acrimoniously in 1968 and decades later Eve published a statement (after her death in 2004) confirming suspicions that MGM had engineered their marriage to cover up Johnson's homosexuality. In declining health, Van, who was estranged from his only child, died at age 92 on December 12, 2008, at a senior living facility in Nyack, New York.--The Cane Mutiny--
--Brigadoon--
--The Last Time I Saw Paris--
--The End Of The Affair--- Actor
- Writer
- Producer
Taylor Negron was born Brad Stephen Negron in Glendale, California, to Lucy (Rosario) and Conrad Negron, who was mayor of Indian Wells, CA. His parents were both of Puerto Rican descent. Negron attended UCLA, studied acting with Lee Strasberg, and studied comedy at a private seminar taught by Lucille Ball. He went on to join the cast of an improvisational comedy group, whose ranks included talents like Robin Williams, Martin Short and Betty Thomas. In 1982 Negron made his motion-picture debut as a love-struck, pill-popping, dancing intern in Young Doctors in Love (1982) and as the obviously peeved Mr. Pizza Guy in Fast Times at Ridgemont High (1982). He also played Rodney Dangerfield's son-in-law in Easy Money (1983).
Negron was honored with the distinction of being asked to teach one of the first comedy courses offered at UCLA.
Negron died of cancer on January 10, 2015.--Nothing But Trouble--
--Easy Money--
-- The Fluffer--
--The Last Boy Scout--- Before there was a George Lucas and Harrison Ford running around creating special-effects excitement, there was a virile, boyishly handsome actor named Kerwin Mathews who was entertaining audiences battling a variety of creatures courtesy of pioneer special effects guru Ray Harryhausen. Harryhausen's legendary monsters of the late 50s and early 60s earned cult film infamy and it was those wondrous storybook fantasies and the Harryhausen association that also put Kerwin on the Hollywood map.
Born an only child in Seattle, Washington, on January 8, 1926, Kerwin's parents split up while he was quite young and he and his mother relocated to Janesville, Wisconsin. He developed an early interest in acting while performing in high school plays. Following a couple of years in the Army Air Force during WWII, Kerwin studied at Beloit College in Wisconsin on both dramatic and musical scholarships. He later taught speech and drama at the college and also found acting jobs in regional theater. In the early 1950s, after teaching high school English in Lake Geneva, Wisconin, for a few years, he decided to make the big trek to Hollywood to seek out his fame and fortune.
While training at the Pasadena Playhouse, Kerwin met a casting agent for Columbia Pictures and was eventually signed to a seven-year contact after winning over the approval of studio boss Harry Cohn. Finding a number of roles on TV, he acquitted himself quite well with his film debut in 5 Against the House (1955) as one of four college pals (the others being Guy Madison, Brian Keith and Alvy Moore) who decide to carry out a faux casino robbery in Las Vegas, a plan that backfires badly. The offbeat ensemble picture drew good reviews and Kerwin was off and running.
Following decent showings in the crime yarn The Garment Jungle (1957) and war flick Tarawa Beachhead (1958), he found respect as a middleweight talent, but truly came into his own in the Saturday afternoon-styled adventure fantasies popular with the school crowd. An agile fencer with fine all-American looks, he won the opportunity to play the role of the dauntless hero in Columbia's classic The 7th Voyage of Sinbad (1958). Out to rescue fair damsel Kathryn Grant (who later became Mrs. Bing Crosby), he battled everything in his path -- from a colossal, one-eyed Cyclops to a fire-spewing dragon. The final climactic battle scene was his Errol Flynn / Basil Rathbone-like swordplay against a dexterous, sword-swinging skeleton, all courtesy of Harryhausen.
Kerwin worked with Harryhausen's stop-motion creations again in The 3 Worlds of Gulliver (1960) as a doctor whose foes this time around included a giant squirrel and alligator. He then played the countrified folk legend Jack the Giant Killer (1962) and again found himself saving a princess while pitted against evil wizards and other specially-designed effects (by Jim Danforth). Other less arduous films he made included the WWII war drama The Last Blitzkrieg (1959) with Van Johnson, the crime thriller Man on a String (1960) with Ernest Borgnine and his third-billed role behind Spencer Tracy and Frank Sinatra in The Devil at 4 O'Clock (1961) in which he and Tracy played priests.
By the early 1960s Kerwin was typecast in adventure tales and was now searching for work overseas to display his stoic heroics, though his efforts were mostly for naught in such empty spectacles as Italy's The Warrior Empress (1960) ["The Warrior Princess"] opposite Gilligan's Island (1964) star Tina Louise; England's The Pirates of Blood River (1962); and the Franco-Italian co-production Shadow of Evil (1964) ["Panic in Bangkok"]. He fared somewhat better in the British-made Maniac (1963) in a change-of-pace role and received some of his best notices on TV playing composer Johann Strauss Jr. in Disney's 1963 TV biopic The Waltz King: Part 1 (1963) (and "Part 2").
Kerwin's career ended in 1978 after making a small sprinkling of appearances in low-budget sci-fi and horror films, plus some TV guest appearances throughout the decade. By this time he had already moved to San Francisco and spent his later years selling antiques and furniture. He was also a stalwart patron of the arts and supporter of the city's various opera and ballet companies. Kerwin died overnight in his sleep at age 81 in his San Francisco home, survived by his partner of 46 years Tom Nicoll.--7th Voyage Of Sinbad--
--Jack The Giant Killer--
--3 Worlds Of Gulliver--
--The Devil At 4 O'Clock-- - Richard Warwick was born on 29 April 1945 in Longfield, Kent, England, UK. He was an actor, known for Romeo and Juliet (1968), Sebastiane (1976) and Nicholas and Alexandra (1971). He died on 16 December 1997 in St John's Wood, London, England, UK.--If...--
--Sebastiane--
--The Breaking Of Bumbo--
--The Lost Language Of Cranes-- - Actor
- Soundtrack
He was a master class in cerebral eloquence and audience command...and although his dominant playing card in the realm of acting was quite serious and stately, nobody cut a more delightfully dry edge in sitcoms than this gentleman, whose calm yet blistering put-downs often eluded his lesser victims.
Acting titan Roscoe Lee Browne was born to a Baptist minister and his wife on May 2, 1922, in Woodbury, New Jersey. He attended Lincoln University, an historically black university in Pennsylvania until 1942, when he enlisted in the U.S. Army during World War II, where he served in Italy with the Negro 92nd Infantry Division and organized the Division's track and field team. He graduated from Lincoln University in 1946, and studied French through Middlebury College's summer language program. He received his master's degree from Columbia University, then subsequently returned to Lincoln and taught French and comparative literature, seemingly destined to settle in completely until he heard a different calling.
Roscoe relished his first taste of adulation and admiration as a track star, competing internationally and winning the world championship in the 800-yard dash in 1951. He parlayed that attention into a job as a sales representative for a wine and liquor importer. In 1956, he abruptly decided to become an actor. And he did. With no training but a shrewd, innate sense of self, he boldly auditioned for, and won, the role of the Soothsayer in "Julius Caesar" the very next day at the newly-formed New York Shakespeare Festival. He never looked back and went on to perform with the company in productions of "The Taming of the Shrew", "Titus Andronicus", "Othello", "King Lear" (as the Fool), and "Troilus and Cressida".
Blessed with rich, mellifluous tones and an imposing, cultured air, Roscoe became a rare African-American fixture on the traditionally white classical stage. In 1961 he appeared notably with James Earl Jones in the original off-Broadway cast of Jean Genet's landmark play "The Blacks". Awards soon came his way -- the first in the form of an Obie only a few years later for his portrayal of a rebellious slave in "The Old Glory". Additionally, he received the Los Angeles Drama Critic's Circle Award for both "The Dream on Monkey Mountain" (1970) and "Joe Turner's Come and Gone" (1989). Roscoe found less successful ventures on 1960s Broadway, taking his first curtain call in "A Cool World" in 1960, which folded the next day. He graced a number of other short runs including "General Seegar" (1962), "Tiger, Tiger Burning Bright" (1962), "The Ballad of the Sade Cafe" (1964), "Danton's Death" (1965), and "A Hand Is on the Gate: An Evening of Negro Poetry and Folk Music" (1966), which he also wrote and directed. He did not return to Broadway until 1983 with the role of the singing Rev. J.D. Montgomery in Tommy Tune's smash musical "My One and Only" in which his number "Kicking the Clouds Away" proved to be one of many highlights. Roscoe returned only once more to Broadway, earning acclaim and a Tony nomination for his supporting performance in August Wilson's "Two Trains Running" (1992).
Although he made an isolated debut with The Connection (1961), he wouldn't appear regularly in films until the end of the decade with prominent parts in the Elizabeth Taylor/Richard Burton film, The Comedians (1967), Jules Dassin's Uptight (1968), Hitchcock's Topaz (1969) and, his most notable, The Liberation of L.B. Jones (1970). Thereafter, he complimented a host of features, both comedic and dramatic, including Super Fly (1972) (and its sequel), Uptown Saturday Night (1974), Logan's Run (1976), Legal Eagles (1986), The Mambo Kings (1992) and Dear God (1996)
Elsewhere, Roscoe's disdainful demeanor courted applause on all the top 70s sitcoms including "All in the Family", "Maude," "Sanford and Son", "Good Times" and "Barney Miller" (Emmy-nominated), and he played the splendidly sardonic role of Saunders, the Tate household butler, after replacing Robert Guillaume's popular "Benson" character on Soap (1977). In 1986 he won an Emmy Award for his guest appearance on The Cosby Show (1984). His trademark baritone lent authority and distinction to a number of documentaries, live-action fare, and animated films, as well as the spoken-word arena, with such symphony orchestras as the Boston Pops and the Los Angeles Philharmonic to his credit. A preeminent recitalist, he was known for committing hundreds of poems to memory. For many years he and actor Anthony Zerbe toured the U.S. with their presentation of "Behind the Broken Words", an evening of poetry and dramatic readings.
At the time of his death of cancer on April 11, 2007, the never-married octogenarian was still omnipresent, more heard than seen perhaps. Among his last works was his narrations of a Garfield film feature and the most recent movie spoof Epic Movie (2007).--The Cowboys--
--Black Like Me--
--The Liberation of L.B. Jones--
--Topaz--- Actor
- Soundtrack
Franklin Pangborn - a name more befitting a fictionalized bank president rather than a great comedic actor - was a singular character actor but little is known of his early years. He spent some time in developing acting talent prior to appearing on Broadway by March of 1911, and would do six plays until mid-1913. He was noticeably absent afterward and corresponding with the early years of World War I. He was in the US Army after America entered the war in 1917. Pangborn did one more play on Broadway in 1924. Interestingly, for someone immediately identified with comedy, Pangborn's roles were for the most part dramatic and included Armand Duval in "Camille", a role in a play adaptation of "Ben Hur", and two parts in "Joseph and His Brethren". Two years later, Pangborn turned to silent films. And although he would play some villains and romantic leads, that droopy pudding-face of his was bound for comedy. In all these early roles from his debut in 1926, his first talkie (On Trial (1928)), and on through most of 1932 (when he made 24 appearances on film), Pangborn was playing comedic roles, many of which were for short films (many by Mack Sennett) where the players usually had no on-screen persona and no billing credit. His many appearances in shorts tapered off and ended through 1935.
These roles were quite varied and continued as such into the later 1930s. He played the compromised husband in two Bing Crosby vehicles (1933); no fewer than three photographers, reporters, radio announcers, bartenders, and much more, including a character meant to parody his own name: 'Mr. Pingboom' (Turnabout (1940)). But through the same period he was piling up a lot of clerk, floorwalker, and, perhaps most of all, hotel manager roles. These latter were the basis for Pangborn typed as the straight-laced, nervous minor official or service provider or manager of whatever whose smug self-assurance in his orderly world is sorely tested.
The term 'sissy' (so prominent a condemnation from childhood memories) was used in early film (and still used today by some film historians) as a catchall name for a spectrum of rather gentle and nebulous male personalities; a simpering voice of any kind would be an instant label that also implied the taboo of homosexuality. Pangborn is often first on the list of actors noted as typed in this general category with Edward Everett Horton with his dignified but slightly simpering New England drawl a close second. Animator Robert Clampett at Warner Bros. in the late 1940s patterned his Goofy Gophers, Mac and Tosh, with their polite and flowery speech after both men. Pangborn had a mellow, lyrical voice which he could ramp up to a staccato, rapid-fire rhythm when perturbed. Indeed, the face and the voice fit well with characters of convention and control, as well as the fastidious to the point of being another slang term of many faces: 'prissy'. And maybe that does not include effeminate - he was not quite that - though the term is indelibly tagged to the character type. His characters were the sort of proper and snobby figures who the easygoing American public would find suspicious - and thus all the funnier on screen when they get their comeuppance. Yet Pangborn never implied 'gay' in his portrayals despite all the gender revisionism of today that might reinterpret his work as such. In real life, people are more complex; on the mainstream screen - as opposed to the shadowy blue one - of the 1930s and 40s, characters were more generally defined within usual convention.
By the later 1930s, Pangborn had perfected a wonderful sense of timing of demeanor, manner, and voice to fit the control freak who is gradually dragged into his worst nightmare of relative chaos by hapless situation. By this time his characterizations were such a fixture of guaranteed laughs that the movie-going public expected to see him. Pangborn was in great demand to do what he did best. And having already worked from the silent era with great stars and directors, he continued to do so. W.C. Fields was a great fan of him and used him in several movies. He was a constant in smart comedy from Frank Capra and Gregory La Cava to the more extreme screwball comedies of Preston Sturges, though frequently upstaged with such a company of funny men as Sturges gathered around him. The Pangborn progression from very funny to uproarious is seen evolved, for example, from La Cava's My Man Godfrey (1936) to Sturges's Hail the Conquering Hero (1944). In the first he is the volunteer swell who coordinates store-keeping for the scavenger hunt of his fellow - if downright silly - affluent crust of New York society. As the flow of items brought to him for registering turns into a flood (including a live goat kid), his demeanor, mannerisms, and vocal speed display increasing irritation. Head spinning, he is in defensive mode as he fends off shouting, grabbing participants. The role perhaps was his defining moment as established celebrity comedian. In Sturges's movie, and Pangborn appeared in most of his best efforts, he is the committee chairman of the reception for false hero Eddie Bracken, trying to coordinate festivities and caught in a literal battle of bands at the beginning of the film. Converged upon by various hokey town bands who all want to play the featured pieces, Pangborn attempts order but is methodically carried away as people out of the blue arrive to suggest other songs, and the bands continue to assail him with arguments, and finally all play all the songs - and all at once - to prove the most deserving. It is musical chaos with Pangborn finally reduced to desperate blasts on a whistle and jumping up and down, yelling "Not yet! Not yet!" It is one of the actor's finest pieces.
Yet Pangborn's usual stock of characters could fit drama as well. Actually, in "Hero", his coordinator also has some straight scenes as well. In Now, Voyager (1942) as the cruise tourist director, his only problem is that Bette Davis has not arrived on deck to be partnered for the land touring of Rio. As an accomplished stage actor, he did miss the boards. Friend of Edward Horton, he was able to exchange his quirky screen characters for dramatic ones, participating in Horton's Los Angeles-based Majestic Theatre productions. But times changed for Pangborn's specialties. Movies were more diverse and updated as the 1950s ensued. But he was immediately adaptable to the small screen which would re-introduce him. He was right at home as a guest star on TV comedy shows, playing his beloved characters as cameo celebrations of his matter-of-fact stardom.
There were a handful of film roles in his last decade with perhaps the overambitious and black-and-white dull but star-studded The Story of Mankind (1957) a bit of a showcase. Also in 1957 he had the singular distinction of being honored as guest announcer - a familiar enough role - and first guest star on the premiere of the "Tonight Show" with its first host Jack Paar. To pass away after surgery seems such a disordered way to go for one such as Franklin Pangborn whose on-screen characters struggled for order above all else. There is no order in the frailty of life by definition, but Pangborn's legacy, rich in comedic gems, has and surely will continue to endure.--Stage Door--
--Now Voyager--
--Sullivan's Travels--
--Hail The Conquering Hero--- Actor
- Soundtrack
Farley Earle Granger was born in 1925 in San Jose, California, to Eva (Hopkins) and Farley Earle Granger, who owned an automobile dealership. Right out of high school, he was brought to the attention of movie producer Samuel Goldwyn, who cast him in a small role in The North Star (1943). He followed it up with a much bigger part in The Purple Heart (1944) and then joined the army. After his release he had to wait until Nicholas Ray cast him in the low-budget RKO classic They Live by Night (1948) with Cathy O'Donnell, and then he was recalled by Goldwyn, who signed him to a five-year contract. He then made Rope (1948) for Alfred Hitchcock and followed up for Goldwyn with Enchantment (1948) with David Niven, Evelyn Keyes and Teresa Wright. Other roles followed, including Roseanna McCoy (1949) with Joan Evans, Our Very Own (1950) with Ann Blyth and Side Street (1949), again with Cathy O'Donnell. He returned to Hitchcock for the best role of his career, as the socialite tennis champ embroiled in a murder plot by psychotic Robert Walker in Strangers on a Train (1951). He then appeared in O. Henry's Full House (1952) with Jeanne Crain, Hans Christian Andersen (1952) with Danny Kaye, The Story of Three Loves (1953) with Leslie Caron and Small Town Girl (1953) with Jane Powell. He went to Italy to make Senso (1954) for Luchino Visconti with Alida Valli, one of his best films. He did a Broadway play in 1955, "The Carefree Tree", and then returned to films in The Naked Street (1955) with Anthony Quinn and Anne Bancroft and The Girl in the Red Velvet Swing (1955) with Joan Collins and Ray Milland. Over the next ten years Granger worked extensively on television and the stage, mainly in stock, and returned to films in Rogue's Gallery (1968) with Dennis Morgan. He then returned to Italy, where he made a series of films, including The Challengers (1970) with 'Anne Baxter (I)', The Man Called Noon (1973) with Richard Crenna and Arnold (1973) with Stella Stevens. More recent films include The Prowler (1981), Death Mask (1984), The Imagemaker (1986) and The Next Big Thing (2001). Since the 1950s he has continued to work frequently on American television and, in 1980, returned to Broadway and appeared in Ira Levin's successful play "Deathtrap". In 2007 he published his autobiography, "Include Me Out: My Life from Goldwyn to Broadway" with Robert Calhoun. A longtime resident of New York, Granger has recently appeared in several documentaries discussing Hollywood and, often, specifically Alfred Hitchcock.--Strangers On A Train--
--They Live By Night--
--Hans Christian Anderson--
--Rope--- Actor
- Writer
- Soundtrack
Paul Lynde was born in 1926 in Mount Vernon, Ohio (one of six children and the middle of four boys). His father was a local police officer and the sheriff of the Mount Vernon Jail for two years. Lynde got his inspiration to become an actor at the age of four or five after his mother took him to see the original silent film Ben-Hur: A Tale of the Christ (1925). After graduating from Northwestern University, Lynde relocated to New York City where his first break came from being a stand-up comedian at the Number One Fifth Avenue nightclub. Then came an appearance on a Broadway show, "New Faces of 1952".
Lynde also had a two-year run on TV with Perry Como's Kraft Music Hall (1948) and the Broadway and film versions of Bye Bye Birdie (1963). Throught his life, Lynde appeared in the Broadway plays "The Impossible Years", "Don't Drink the Water", and "Plaza Suite". His many film credits include New Faces (1954), Send Me No Flowers (1964), and Rabbit Test (1978). One of his most memorable roles was a recurring role on Bewitched (1964) playing the sneering, sarcastic Uncle Arthur. He appeared on TV's The Dean Martin Show (1965), The Kraft Music Hall (1967), Donny and Marie (1975), and both the prime-time and daytime versions of the game show The Hollywood Squares (Daytime) (1965) where he occupied the famous center square. He had two TV series of his own, The Paul Lynde Show (1972) and The New Temperatures Rising Show (1972). Paul Lynde's witty, wisecracking one-liners and his novel line delivery made him one of Hollywood's funniest and best loved entertainers. Paul Lynde died under mysterious circumstances when he was found dead in his bed after possibly suffering a heart attack in January 1982 at age 55. He had been in ill-health for over a year with cancer or some other illness that was never fully revealed to the public before or after his death.--Bewitched--
--Bye Bye Birdie--
--Under The Yum Yum Tree--
--The Glass Bottom Boat--- John Fraser was born on 18 March 1931 in Glasgow, Scotland, UK. He was an actor, known for Repulsion (1965), The Trials of Oscar Wilde (1960) and El Cid (1961). He died on 7 November 2020 in London, England, UK.—Repulsion—
—El CID—
—The Trials Of Oscar Wilde—
—Isadora— - Actor
- Soundtrack
Actor Leonard Joel "Lenny" Baker was born on January 17, 1945 in Boston, Massachusetts. The son of Bertha and William Baker, Lenny graduated from Brookline High School in Brookline, Massachusetts in 1962 and attended Boston University, where he received his Bachelor's Degree. Baker began his acting career in regional theater and spent several summers at the O'Neill Center's National Playwrights Conference in Waterford, Connecticut. After moving to New York City in 1969, Lenny acted in such Off-Broadway stage productions as "'Paradise Gardens East," "Conerico Was Here to Stay," "The Year Boston Won the Pennant," and "The Survival of St. Joan."
Baker made his Broadway stage debut in 1974 in "The Freedom of the City" and won a Tony award in 1977 for his performance in the musical "I Love My Wife." Moreover, in 1976 Lenny performed in repertory in Phoenix Theater productions of "Secret Service" and "Boy Meets Girl" as well as appeared in both "Henry V" and "Measure for Measure" with the New York Shakespeare Festival in the Delacorte Theater in Central Park. In addition, Baker also acted in a handful of films and television shows. Lenny had his sole lead role as aspiring actor Larry Lapinsky in Paul Mazursky's autobiographical Next Stop, Greenwich Village (1976), for which he was nominated for a Golden Globe award for Best Acting Debut in a Motion Picture - Male. Baker died at age 37 from AIDS-related cancer on April 12, 1982 in a hospital in Hallandale Beach, Florida. He was survived at the time of his death by both his parents and his brothers Alan and Malcolm.--Next Stop Greenwich Village--
--The Paper Chase--
--The Hospital--
--Malatesta's Carnival Of Blood--
--A.W.O.L.--- Actor
- Production Manager
- Director
Born Raymond William Stacy Burr on May 21, 1917 in New Westminster, British Columbia, he 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 nightclub singer.
During World War II, he 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 titular character on Perry Mason (1957), the role for which he was best-known. Decades later, he reprised the role opposite former co-star Barbara Hale in a series of NBC television movies. At age 65, he returned to teaching drama as a professor of theatre at Sonoma State University, Rohnert Park.
After a brave battle with cancer, Burr died at age 76 on September 12, 1993 at his ranch home in Geyserville, Sonoma County, California. Married once, the union ended in divorce. He had no children.--Perry Mason--
--Ironside--
--Rear Window--
--Godzilla, King Of The Monsters--- Actor
- Soundtrack
Denholm entered RADA at the age of 17, but dropped out after a year having hated every minute being there. He joined the RAF in 1940, trained as a gunner/radio operator, and was shot down over Germany in 1942. In the POW camp he and his fellow prisoners staged various productions in a theatre constructed out of old packing cases. After the war he joined a London repertory company and his career took off particularly when Laurence Olivier chose him for the starring role in Venus Observed, for which he won a Clarence Derwent award. When another Olivier production Ring Around the Moon transferred to New York Denholm replaced Paul Schofield in what became a Broadway hit. Returning to Britain he was signed to a film contract and appeared in such movies as The Cruel Sea, The Sound Barrier, Alfie, King Rat, and others in addition to appearing on television and making countrywide theatre tours. In 1983 he won a BAFTA Award for his role as the butler in Trading Places and followed it with a Best Supporting Actor Award for his role in A Private Function. Prior to that he won an Evening Standard Best Actor award for Bad Timing.--Raiders Of The Last Ark--
--Room With A View--
--Maurice--
--September--- Actor
- Soundtrack
It seemed like Edward Everett Horton appeared in just about every Hollywood comedy made in the 1930s. He was always the perfect counterpart to the great gentlemen and protagonists of the films. Horton was born in Brooklyn, New York City, to Isabella S. (Diack) and Edward Everett Horton, a compositor for the NY Times. His maternal grandparents were Scottish and his father was of English and German ancestry. Like many of his contemporaries, Horton came to the movies from the theatre, where he debuted in 1906. He made his film debut in 1922. Unlike many of his silent-film colleagues, however, Horton had no problems in adapting to the sound, despite--or perhaps because of--his crackling voice. From 1932 to 1938 he worked often with Ernst Lubitsch, and later with Frank Capra. He has appeared in more than 120 films, in addition to a large body of work on TV, among which was the befuddled Hekawi medicine man Roaring Chicken on the western comedy F Troop (1965).--Arsenic And Old Lace--
--The Devil Is A Woman--
--Top Hat--
--Lost Horizon--- Actor
- Director
- Writer
Charles Nelson Reilly was born to Charles Joseph Reilly and Signe Elvera Nelson. His father was Irish-American and Catholic, his mother was Swedish-American and Lutheran. As a child he amused himself with improvised puppet theater performances.
He had a traumatic experience in 1944, when present for the Hartford circus fire in Hartford, Connecticut. A fire during a performance of the Ringling Bros. and Barnum & Bailey Circus killed 167 people and injured 700 people. While Reilly was one of the survivors, he was left with a life-long fear of fires. He never attended public performances of theater and circus again, as an audience member, for fear of another fire.
Reilly wanted to enter show business as a youth, and in particular to become an opera singer. He took lessons at the University of Hartford Hartt School, but eventually realized that his voice skills were inadequate. He turned to theater next, and debuted in film with a bit role in "A Face in the Crowd" (1957). During the late 1950s, Reilly appeared regularly in comic roles in theatrical performances off-Broadway. In 1960, Reilly first gained critical attention, for a small but noteworthy part in Broadway musical "Bye Bye Birdie". In 1961, Reilly joined the cast of the musical "How to Succeed in Business Without Really Trying". He won his first Tony Award in 1962 for that performance. He kept appearing in Broadway shows for the rest of the decade.
As a notable actor, Reilly started making television appearances in the 1960s. He started as a guest in panel shows and as a player in television advertisements. He eventually gained a key role in the television series "The Ghost & Mrs. Muir", where he appeared from 1968 to 1970. In the 1970s, Reilly was a regular in game shows and children's series, such as "Match Game" and "Uncle Croc's Block".
In 1976, Reilly started teaching acting to others, while shifting his own career from acting to directing. He directed Broadway shows regularly and was nominated for a Tony Award for directing in 1997. He also directed a number television episodes. In the 1990s, he had guest roles in television series such as "X-Files" and "Millennium".
In the 2000s, Reilly was primarily known for the autobiographical play "Save It for the Stage: The Life of Reilly", and for its film adaptation. While touring the United States, he developed respiratory problems which led to his retirement. His illness got worse, and he died due to pneumonia in 2007.--The Ghost And Mrs. Muir--
--Lidsville--
--The Life Of Reilly--
--Cannonball Run II--- Actor
- Producer
The French-born scion to a wealthy Russian-Jewish family, Nicolas, the 5th Baron de Gunzburg was known in Paris for his lavish costume balls and was popular with the artistic and social elite of the 20s and 30s. He yearned to become an actor and financed Dreyer's now-classic Vampyr in exchange for landing the lead role, using the screen name "Julian West."
Not long after the film was released, though, Nicolas' father passed away, and Nicolas himself was left with little money. He threw one last lavish costume party, then took off for America to seek his fortune in the summer of 1934.
Attempts at reviving his screen career didn't pan out, and he never made any more movies. He moved to New York in the 1940s and eventually became editor-in-chief of Town & Country magazine, and became a friend of such luminaries as Noel Coward, Lauren Bacall, Cole Porter, Coco Chanel, and Cecil Beaton.
He later became the senior fashion editor of Vogue, remaining there during the 50s and 60s, then becoming fashion editor of Harper's Bazaar. By the 1970s his personal style became a legend and he was universally regarded as one of the best-dressed men in America. While openly gay, his romantic life was discreet.
He also mentored three up-and-coming fashion designers: Bill Blass, Oscar de la Renta, and Calvin Klein, all of whom became legends. De Gunzberg, though, remained known only to the literary and social set of New York, London, and Paris. He died at the age of 76, mourned by his many friends and proteges. Ironically, although he is remembered today for his one film role, his influence on the fashion world has continued long after his death.Vampyr- Actor
- Producer
- Soundtrack
Rock Hudson was born Roy Harold Scherer, Jr. in Winnetka, Illinois, to Katherine (Wood), a telephone operator, and Roy Harold Scherer, an auto mechanic. He was of German, Swiss-German, English, and Irish descent. His parents divorced when he was eight years old. He failed to obtain parts in school plays because he couldn't remember lines. After high school he was a postal employee and during WW II served as a Navy airplane mechanic. After the war he was a truck driver. His size and good looks got him into movies. His name was changed to Rock Hudson, his teeth were capped, he took lessons in acting, singing, fencing and riding. One line in his first picture, Fighter Squadron (1948), needed 38 takes. In 1956 he received an Oscar nomination for Giant (1956) and two years later Look magazine named him Star of the Year. He starred in a number of bedroom comedies, many with Doris Day, and had his own popular TV series McMillan & Wife (1971). He had a recurring role in TV's Dynasty (1981) (1984-5). He was the first major public figure to announce he had AIDS, and his worldwide search for a cure drew international attention. After his death his long-time lover Marc Christian successfully sued his estate, again calling attention to the homosexuality Rock had hidden from most throughout his career.--Giant--
--Pillow Talk--
--Mc Millan & Wife--
--All That Heaven Allows--- Actor
- Writer
- Producer
Charles Laughton was born in Scarborough, Yorkshire, England, to Eliza (Conlon) and Robert Laughton, hotel keepers of Irish and English descent, respectively. He was educated at Stonyhurst (a highly esteemed Jesuit college in England) and at the Royal Academy of Dramatic Art (received gold medal). His first appearance on stage was in 1926. Laughton formed own film company, Mayflower Pictures Corp., with Erich Pommer, in 1937. He became an American citizen 1950. A consummate artist, Laughton achieved great success on stage and film, with many staged readings (particularly of George Bernard Shaw) to his credit. Laughton died in Hollywood, California, aged 63.--The Old Dark House--
--Island Of Lost Souls--
--Mutiny On The Bounty--
--Witness For The Prosecution--- Actor
- Writer
- Soundtrack
Sir Michael Redgrave was of the generation of English actors that gave the world the legendary John Gielgud, Ralph Richardson and Laurence Olivier, Britain three fabled "Theatrical Knights" back in the days when a knighthood for thespian was far more rare than it is today. A superb actor, Redgrave himself was a charter member of the post-Great War English acting pantheon and was the sire of an acting dynasty. He and his wife, Rachel Kempson, were the parents of Vanessa Redgrave, Corin Redgrave and Lynn Redgrave and the grandparents of Natasha Richardson, Joely Richardson and Jemma Redgrave.--Dead Of Night--
--The Lady Vanishes--
--The Importance Of Being Earnest--
--The Go-Between--- Actor
- Soundtrack
Scrappy, plucky-looking Kentucky-born Tommy Kirk, who was born on December 10, 1941, became synonymous with everything clean and fun that Disney Entertainment prescribed to in the late 1950s and very early 1960s. One of four sons born to a mechanic, Louie, and legal secretary, Lucy, the Kirk family, in search of better job prospects, moved from Louisville to Downey, California while Tommy was still an infant. The boy's interest in acting was ignited at the age of 13 years when he (instead of older brother Joe) was cast in a minor role in a production of Will Rogers Jr. and Bobby Driscoll in a production of Eugene O'Neill's "Ah, Wilderness!" at the Pasadena Playhouse. Discovered by a Hollywood agent who saw him and signed him up, Tommy went on to appear in two other Pasadena theatre plays, Portrait in Black" and "Barefoot in Athens" and on TV ("Lux Video Theatre, "Frontier," "Big Town," "Gunsmoke" and "The Loretta Young Show") and film (Down Liberty Road (1956) and The Peacemaker (1956)). It was an episode of "Matinee Theatre" that brought the freshly-scrubbed All-American kid to the attention of mogul Walt Disney who quickly signed him to a long-term contract.
In 1955, the lad became a member of the The Mickey Mouse Club (1955) TV series and won a legion of young fans as the brush-cut haired, irrepressibly inquisitive young sleuth Joe Hardy in two "Hardy Boys" serials ("The Mystery of the Applegate Treasure," "The Mystery of the Ghost Farm") with Tim Considine, another young promising Disney staple, playing older brother Frank. With time Tommy became a prime juvenile Disney hero and ideal mischief maker for many of the studio's full-length comedy and drama classics, earning nationwide teen idol status for his exuberant work in Old Yeller (1957), The Shaggy Dog (1959), Swiss Family Robinson (1960), The Absent Minded Professor (1961), Babes in Toyland (1961), Bon Voyage! (1962), Moon Pilot (1962), Son of Flubber (1962) and The Misadventures of Merlin Jones (1964).
In 1963 the bubble completely burst when the Disney factory found out 21-year-old Tommy was in a relationship with an underage boy. He was also arrested on Christmas Eve in 1964 when a party he was attending was raided and busted for marijuana use. Although charges were dropped, it was too late. Fired from his role in the John Wayne western The Sons of Katie Elder (1965) as a result, the Disney studio, out of protection, was forced to release him from his contract, but not after rehiring him one more time to complete a "Merlin Jones" movie sequel entitled The Monkey's Uncle (1965)).
Tommy found very mild restitution after signing with AIP (American International Pictures) and appearing in such popular teen-oriented flicks as Pajama Party (1964), co-starring fellow Disney cohort Annette Funicello, and The Ghost in the Invisible Bikini (1966). He also began appearing on the musical stage as Harold Hill in "The Music Man," Riff in "West Side Story" and as the lead in "Tovarich." He also was lent out to do a lead in the mediocre cult sci-fi Embassy Picture Village of the Giants (1965). After leaving AIP, things got progressively worse for Tommy with a lead role in Trans American Film's It's a Bikini World (1967) -- by this time, beach party films were no longer trendy. Bargain basement fare such as Unkissed Bride (1966)_ (aka Mother Goose a Go-Go), UA's Track of Thunder (1967), Catalina Caper (1967) Mars Needs Women (1968), in which he played a Martian, and Blood of Ghastly Horror (1967) (aka Psycho a Go-Go) pretty much spelled as a leading man. Practically blacklisted by an industry that deemed "outed" gay actors "box office poison," he returned to the musical theatre in his home state of Kentucky with such shows as "Anything Goes" (as Moonface Martin), "Hello, Dolly!" (as Horace Vandergelder), "A Funny Thing Happened on the Way to the Forum" (as Marcus Lycus) and "Little Mary Sunshine" (as General Fairfax).
Following roles in the low budget 70s films Ride the Hot Wind (1973) and the unreleased My Name Is Legend (1975) as well as an isolated TV part on a 1972 episode of "The Streets of San Francisco," Tommy disappeared from the limelight. His life went into a seemingly irreversible tailspin. Depressed and angry, he sought solace in drugs and nearly died from an acute overdose at one point. For health reasons he felt the need to completely abandon his career and slowly moved himself forward as a recovering addict. On a very positive note, he was able to build a very successful carpet and upholstery cleaning company for himself ("Tommy Kirk's Carpet and Upholstery) in Southern California's San Fernando Valley. It stayed open for business for well over two decades.
After some time away, Tommy showed up again in Hollywood, glimpsed in a few dismissible low-budgeters here and there, including Streets of Death (1988), Attack of the 60 Foot Centerfolds (1995), Little Miss Magic (1998), Billy Frankenstein (1998), Club Dead (2000) and, his last to date, The Education of a Vampire (2001). He appeared in several documentary interviews for the DVD releases of some of his best known films and TV shows, and occasionally at film festivals and nostalgia convention/memorabilia fests. He lived in Las Vegas.- Actor
- Director
- Writer
Born in London, England, John Gielgud trained at Lady Benson's Acting School and RADA, London. Best known for his Shakespearean roles in the theater, he first played Hamlet at the age of 26. He worked under the tutelage of Lilian Bayliss with friend and fellow performer Laurence Olivier and other contemporaries of the National Theatre at the "Old Vic", London. He made his screen debut in 1924. Academy Award Best Supporting Actor, 1981, for Arthur (1981), Academy Award Nomination, 1964, for Becket (1964).--Julius Caesar--
--Becket--
--Arthur--
--Prospero's Books--- Actor
- Soundtrack
Sargent was a trim, handsome man with a longish chin. He played a variety of gawky businessmen roles in feature films before finding a niche in tv history as the second Darrin on "Bewitched". Shortly before his death, Sargent publicly proclaimed he was gay, and became what he called "a retroactive role model" in the battle for gay rights.--Bewitched--
--Operation Petticoat--
--That Touch Of Mink--
--The Ghost And Mr Chicken--- Alec McCowen was born Alexander Duncan McCowan on May 26, 1925 in Tunbridge Wells, England. After studying at the Royal Academy of Dramatic Art, he made his professional debut in 1942. He established his reputation in classical stage roles, appearing in the ensemble of Laurence Olivier's famed duo-production of William Shakespeare's "Anthony and Cleopatra" and George Bernard Shaw's "Caesar and Cleopatra" at the 1951 Festival of Britain. McCowen transferred with the productions to New York that same year, making his Broadway debut.
McCowen made his movie debut in The Cruel Sea (1953), but for his turn as Police Inspector Oxford in Alfred Hitchcock's Frenzy (1972), his reputation is rooted in his stage work. "Frenzy" led to his one lead role in a major motion picture, that of Henry Pulling in George Cukor's adaptation of 'Graham Greene's Travels with My Aunt (1972). Though the film won an Oscar for Costume Design and a Best Actress nod for co-star Maggie Smith (among its total of four nominations), the movie did not advance McCowen's career. Over a decade later, he played the title role in the Thames Television series Mr. Palfrey of Westminster (1984), which ran for two seasons on British television from 1984 to 1985. His last cinema appearance was in a small role in Gangs of New York (2002) for director Martin Scorsese; he had earlier appeared in Scorsese's The Age of Innocence (1993).
Though his services were in demand in movies and on television, McCowen remained wedded to the stage; he regards the character of "Astrov" in Anton Chekhov's "Uncle Vanya" as his favorite role. From 1967 to 1992, McCowen appeared nine times on Broadway, for which he garnered two Drama Desk Awards (out of four nominations) and three Tony Award nominations. One of his Tony Award nominations was for his magisterial solo performance in "St. Mark's Gospel", which debuted on Broadway in 1978 and had a return engagement on the Great White Way in 1981.
He was appointed Officer of the Order of the British Empire (OBE) in the 1972 Queen's New Years Honours and Commander of the Order of the British Empire (CBE) in the 1986 Queen's New Years Honours for his services to drama. Alec McCowan died at age 91 on February 6, 2017 in London, England.--Never Say Never Again--
--Gangs Of New York--
--Personal Services--
--Travels With My Aunt--
--The Hawaiians-- - Ben Piazza was born on 30 July 1933 in Little Rock, Arkansas, USA. He was an actor, known for The Blues Brothers (1980), Mask (1985) and Guilty by Suspicion (1991). He was married to Dolores Dorn. He died on 7 September 1991 in Sherman Oaks, California, USA.--The Bad News Bears--
--The Candy Snatchers--
--Tell Me That You Love Me Junie Moon--
--Waltz Across Texas-- - Jonathan Frid's career in drama began when he first "offered his soul" to the theater as a young boy at a preparatory school in Ontario, Canada. Following his graduation from McMaster University, he attended the Royal Academy of Dramatic Arts (RADA) in the UK and later earned a Master's Degree in Directing from the Yale School of Drama.
He was a leading actor in English and Canadian repertory and went on to work in many of the most celebrated regional theaters in the United States, including the Williamstown Theatre Festival, the Old Globe Theatre in San Diego, and the American Shakespeare Festival under the direction of John Houseman, performing with Katharine Hepburn in "Much Ado About Nothing".
Frid appeared in major roles on-and-off Broadway, in such productions as "Roar Like A Dove", "Murder in the Cathedral" and "Wait Until Dark". However, it was his portrayal of a complex, conflicted vampire on ABC-TV's daytime drama series Dark Shadows (1966) (he also had a cameo role in the motion picture House of Dark Shadows (1970)) which garnered him his greatest fame in the United States. Other film credits included co-starring roles in The Devil's Daughter (1973) (with Shelley Winters) and Seizure (1974) (Oliver Stone's directorial debut).
In 1986, Frid joined the Broadway production of "Arsenic and Old Lace" (co-starring with Jean Stapleton). He won critical acclaim for his villainous turn as the homicidal nephew and spent ten months with the play's national tour. That same year, Frid founded his own production company, "Clunes Associates", to create and tour a series of one-man readers' theater shows across North America. Frid continued to perform his one-man shows, now under the banner of "Charity Associates", to raise money for a variety of charities. Combining the arts of his voice and his zest for entertaining", as one critic put it. In June 2000, he returned to the traditional professional stage in the play "Mass Appeal" at the Stirling Festival Theatre in Stirling, Ontario.--House Of Dark Shadows--
--Night Of Dark Shadows--
--Seizure--
--The Devil's Daughter--
--Dark Shadows: Series-- - Actor
- Additional Crew
- Producer
A grand, robust, highly theatrical British classical actor, Maurice Evans was born on June 3, 1901, in Dorchester, England, the son of a justice of the peace who enjoyed amateur play writing on the side. In fact, his father adapted several adaptations of Thomas Hardy's novels and Evans would often appear in them. Early interest also came in London choirs as a boy tenor.
Making his professional stage debut in 1926, Evans made do during his struggling years by running a cleaning and dyeing store. He earned his first triumph three years later in the play "Journey's End." When his resulting attempts as an early 1930's romantic film lead and/or second lead in White Cargo (1929), Raise the Roof (1930), The Only Girl (1933), The Path of Glory (1934), Bypass to Happiness (1934) and Checkmate (1935) didn't pan out, he refocused on the stage.
Following a season with the Old Vic theatre company, he arrived in America and proceeded to conquer Broadway, establishing himself as one of the world's more illustrious interpreters of Shakespeare. His eloquent, florid portrayals of Romeo, Hamlet, Macbeth and Richard II are considered among the finest interps. He was also deemed a master of Shavian works which included superlative performances in "Major Barbara", "Man and Superman" and "The Devil's Disciple".
As a U.S. citizen (1941), Maurice was placed in charge of the Army Entertainment Section, Central Pacific Theater during WWII and left military service with the rank of major. His post-war career included a handful of character film roles, notably Kind Lady (1951), Androcles and the Lion (1952), Gilbert and Sullivan (1953) (as composer Sir Arthur Sullivan), The War Lord (1965), Rosemary's Baby (1968), and as "Dr. Zaius" in the Planet of the Apes (1968) series.
Films would never be Evans' strong suit, earning much more stature on TV. More importantly, he brought Shakespeare and Shaw to 1950's TV, adapting (and directing) a number of his stage classics including King Richard II (1954), The Taming of the Shrew (1956), Man and Superman (1956), Twelfth Night (1957), The Tempest (1960). He won an Emmy award in 1960 for his Macbeth (1960).
Interestingly, for all his legendary performances under the theatre lights and stirring TV classics, the ever-regal stage master is probably best known to generations for his delightful, Shakespeare-spouting appearances on the Bewitched (1964) TV series, as Elizabeth Montgomery's irascible warlock father. Following guest shots on such popular TV shows as "Medical Center," "The Big Valley," "Columbo," "Streets of San Francisco," "Fantasy Island" and "The Love Boat," he made his final on-camera appearance in the TV movie A Caribbean Mystery (1983).
Evans returned to England to live out his remaining years and died there on March 12, 1989, in a Sussex nursing home of heart failure as a result of a bronchial infection, aged 87.--Bewitched--
--Rosemary's Baby--
--Planet Of The Apes--
--Gilbert And Sullivan--- Larger than life, Laughtonesque, and with an eloquent, king-sized appetite for maniacal merriment, a good portion of the work of actor Victor Buono was squandered on hokey villainy on both film and television. Ostensibly perceived as bizarre or demented, seldom did Hollywood give this cultivated cut-up the opportunity to rise above the deliciously hammy arrogance that flowed through so many of his cartoonish characters. He loved to make people laugh and while he could have approached his career with more serious attention, the real money was in his madness. In the end, the actor's chronic weight and accompanying health problems took their toll -- a fatal heart attack at the untimely age of 43 -- and a wonderful actor/writer/poet/chef had exited way before his time.
Born on February 3, 1938 in San Diego, California, the son of Victor Francis Buono and Myrtle Belle (née Keller), his interest in entertainment was originally encouraged by his grandmother, Myrtle Glied (1886-1969), who had once been a vaudevillian on the Orpheum Circuit. It was she who taught Victor how to sing and recite in front of company. His initial choice of career was somewhere in the direction of medicine but the pure joy he experienced from several high school performances (playing everything from Aladdin's evil genie to Hamlet himself) led him to dismiss such sensible thinking and take on the bohemian life style of an actor.
The already hefty-framed hopeful started appearing on local radio and television stations in San Diego. At age 18, he became a member of the Globe Theater Players where he was cast in Shakespeare and the classics ["Volpone", "A Midsummer Night's Dream", "Knight of the Burning Pestle", "The Man Who Came to Dinner", "Witness for the Prosecution", "Henry IV, Part I (as Falstaff)", "As You Like It", "Hamlet" (as Claudius)].
In 1959, a Warner Bros. agent happened to scope out the talent at the Globe Theatre and caught Victor's wonderfully robust portrayal of Falstaff (a role he would return to now and then) and gave him a screen test. Looking older than he was, the studio set upon using Victor in weird and wacky ways, such as his bearded poet Bongo Benny in an episode of 77 Sunset Strip (1958). His wry and witty demeanor, fixed stare, huge girth and goateed mug was guaranteed to put him in nearly every television crime story needing an off-the-wall character or outlandish villain.
Following an unbilled appearance in The Story of Ruth (1960), Victor was intriguingly cast by director Robert Aldrich to play Edwin Flagg, the creepy musical accompanist and opportunist who tries to use one-time child celebrity Bette Davis for his own piggy bank in the gothic horror classic What Ever Happened to Baby Jane? (1962). He held his own beautifully opposite the scenery-chewing Davis and was nominated for a Best Supporting Oscar for his efforts. This role also set the tone for the increasingly deranged characters he would go on to play.
Cast as the title menace in The Strangler (1964), Victor delved wholeheartedly into the sick mind of a mother-obsessed murderer and offered a startling, tense portrayal of a child-like monster who gives new meaning to the art of "necking" with women. Director Aldrich used Victor again (albeit too briefly) for his Southern-baked "Grand Guignol" horror Hush...Hush, Sweet Charlotte (1964) this time as Ms. Davis' crazed father. Victor also showed up in The Greatest Story Ever Told (1965) starring Max von Sydow where he flamboyantly took on the High Priest Sorak role in this epic but criticized retelling of Jesus.
He enhanced a number of lightweight 1960s movies including 4 for Texas (1963), Robin and the 7 Hoods (1964), The Silencers (1966) and Who's Minding the Mint? (1967) with his clever banter and gleeful menace. The lurid title said it all when Victor gamely took on the horror movie The Mad Butcher (1971) [aka The Strangler of Vienna] wherein he played a former mental patient preying on women again. This deranged low-budget German/Italian co-production added a "Sweeney Todd" meatpie tie in.
Victor's hearty, scene-stealing antics dominated late 1960s television series. Recurring madmen included his Count Carlos Manzeppi on The Wild Wild West (1965) and King Tut who habitually wreaked havoc on Gotham City on Batman (1966). One could always find his unsympathetic presence somewhere on a prime-time channel (Perry Mason (1957), Get Smart (1965), I Spy (1965)) but his roles ended up more campy than challenging. However, one heartfelt, serious portrayal was his portrayal of President William Howard Taft in the epic miniseries Backstairs at the White House (1979). Elsewhere, he recorded a self-effacing comedy album ("Victor Buono: Heavy!") and even wrote comic poetry ("Victor Buono: It Could Be Verse". He was indeed a sought-after raconteur on daytime and nighttime talk shows.
Continuing with the theatre but on a more infrequent basis, his one-man stage shows included "Just We Three", "Remembrance of Things Past" and "This Would I Keep". He also appeared as Pellinore opposite Robert Goulet and Carol Lawrence in a 1975 performance of "Camelot" and earned minor cult status for his memorable performance in the play "Last of the Marx Brothers' Writers" in a return to the Old Globe Theatre in 1977.
The never-married actor felt compelled to conceal his homosexuality. A well-regarded gourmet chef and an expert on Shakespeare, he died of a massive heart attack at his ranch in Apple Valley, California on January 1, 1982. Before his death was announced, Buono had just been cast in the Broadway-bound play "Whodunnit?" by Anthony Shaffer. The show finally arrived in New York without him and almost a year to his death (December 30, 1982).--What Ever Happened To Baby Jane?--
--Robin And The 7 Hoods--
--Hush...Hush, Sweet Charlotte--
--The Man From Atlantis-- - Actor
- Writer
- Soundtrack
Sir Dirk Bogarde, distinguished film actor and writer, was born Derek Jules Gaspard Ulric Niven van den Bogaerde on March 28, 1921, to Ulric van den Bogaerde, the art editor of "The Times" (London) newspaper, and actress Margaret Niven in the London suburb of Hampstead. He was one of three children, with sister Elizabeth and younger brother Gareth. His father was Flemish and his mother was of Scottish descent.
Ulric Bogaerde started the Times' arts department and served as its first art editor. Derek's mother, Margaret - the daughter of actor and painter Forrest Niven - appeared in the play "Bunty Pulls The Strings", but she quit the boards in accordance with her husband's wishes. The young Derek Bogaerde was raised at the family home in Sussex by his sister, Elizabeth, and his nanny, Lally Holt.
Educated at the Allen Glen's School in Glasgow, he also attended London's University College School before majoring in commercial art at Chelsea Polytechnic, where his teachers included Henry Moore. Though his father wanted his eldest son to follow him into the "Times" as an art critic and had groomed him for that role, Derek dropped out of his commercial art course and became a drama student, though his acting talent at that time was unpromising. In the 1930s he went to work as a commercial artist and a scene designer.
He apprenticed as an actor with the Amersham Repertory Company, and made his acting debut in 1939 on a small London stage, the Q Theatre, in a role in which he delivered only one line. His debut in London's West End came a few months later in J.B. Priestley's play "Cornelius," in which he was billed as "Derek Bogaerde". He made his uncredited debut as an extra in the pre-war George Formby comedy Come on George! (1939).
The September 1939 invasion of Poland by Nazi Germany and the Soviet Union triggered World War II, and in 1940 Bogarde joined the Queen's Royal Regiment as an officer. He served in the Air Photographic Intelligence Unit and eventually attained the rank of major. Nicknamed "Pippin" and "Pip" during the war, he was awarded seven medals in his five years of active duty. He wrote poems and painted during the war, and in 1943, a small magazine published one of his poems, "Steel Cathedrals," which subsequently was anthologized. His paintings of the war are part of the Imperial War Museum's collection.
Similar to his character, Captain Hargreaves, in King & Country (1964), he was called upon to put a wounded soldier out of his misery, a tale recounted in one of his seven volumes of autobiography. While serving with the Air Photographic Intelligence Unit, he took part in the liberation of the Bergen-Belsen concentration camp, which he said was akin to "looking into Dante's Inferno".
In one of his autobiographies, he wrote, "At 24, the age I was then, deep shock stays registered forever. An internal tattooing which is removable only by surgery, it cannot be conveniently sponged away by time."
After being demobilized, he returned to acting. His agent re-christened him "Dirk Bogarde," a name that he would make famous within a decade. In 1947 he appeared in "Power Without Glory" at the New Lindsay Theatre, a performance that was praised by Noël Coward, who urged him to continue his acting career. The Rank Organization had signed him to a contract after a talent scout saw him in the play, and he made his credited movie debut in Dancing with Crime (1947) with a one-line bit as a policeman.
His first lead in a movie came that year when Wessex Films, distributed by Rank, gave him a part in the proposed Stewart Granger film Sin of Esther Waters (1948). When Granger dropped out, Bogarde took over the lead. Rank subsequently signed him to a long-term contract and he appeared in a variety of parts during the 14 years he was under contract to the studio.
For three years he toiled in Rank movies as an apprentice actor without making much of a ripple; then in 1950, he was given the role of young hood Tom Riley in the crime thriller The Blue Lamp (1950) (the title comes from the blue-colored light on police call-boxes in London), the most successful British film of 1950, which established Bogarde as an actor of note. Playing a cop killer, an unspeakable crime in the England of the time, it was the first of the intense neurotics and attractive villains that Bogarde would often play.
He continued to act on-stage, appearing in the West End in Jean Anouilh's "Point of Departure". While he was praised for his performance, stage acting made him nervous, and as he became more famous, he began to be mobbed by fans. The pressure of the public adulation proved overwhelming, particularly as he suffered from stage fright. He was accosted by crowds of fans at the stage door during the 1955 touring production of "Summertime," and his more enthusiastic admirers even shouted at him during the play. He was to appear in only one more play, the Oxford Playhouse production of "Jezebel," in 1958. He never again took to the boards, despite receiving attractive offers.
He first acted for American expatriate director Joseph Losey in The Sleeping Tiger (1954). Losey, a Communist and self-described Stalinist at the time, had emigrated to England after being blacklisted in Hollywood after he refused to direct The Woman on Pier 13 (1949) at RKO Pictures, which was owned by right-wing multi-millionaire Howard Hughes at the time, and he was accused in testimony before the House Un-American Activities Committee of being a Communist. The director, like Bogarde, would not find his stride until the early 1960s, and Losey and Bogarde would build their reputations together.
First, however, Losey had to overcome Bogarde's reluctance to star in a low-budget film (shot for $300,000) with a blacklisted American director. Losey, who had never heard of Bogarde until he was proposed for the film, met with him and asked Bogarde to view one of his pictures. After seeing the film, Bogarde was enthusiastic, and Losey talked him into taking the role, which he accepted at a reduced fee (Losey originally was not credited with directing the film due to his being blacklisted in the States). A decade later they would make more memorable films that would be watersheds in their careers.
It was not drama but comedy that made Dirk Bogarde a star. He achieved the first rank of English movie stardom playing Dr. Simon Sparrow in the comedy Doctor in the House (1954). The film was a smash hit, becoming one of the most popular British films in history, with 17 million admissions in its first year of release. As Sparrow, Bogarde became a heartthrob and the most popular British movie star of the mid-50s. He reprised the character in Doctor at Sea (1955), Doctor at Large (1957).
The title of the latter film may have described his mood as a serious actor having to do another turn as Dr. Sparrow between his career-making performances in Losey's The Servant (1963), with a script by Harold Pinter, and Losey's adaptation of the stage play King & Country (1964), in which Bogarde memorably played the attorney for a young deserter (played by Tom Courtenay).
Bogarde, hailed as "the idol of the Odeons" in honor of his box-office clout, was offered the role of Jimmy Porter in Look Back in Anger (1959) by producer Harry Saltzman and director Tony Richardson, based on the play that touched off the "Angry Young Man" and "Kitchen Sink School" of contemporary English drama in the 1950s. Though Bogarde wanted to take the part, Rank refused to let him make the film on the grounds that there was "altogether too much dialog." The part went to Richard Burton instead, who went over-the-top in portraying his very angry, not-so-young man.
After this disappointment, Bogarde went to Hollywood to play Franz Liszt in Song Without End (1960) and to appear in Nunnally Johnson's Spanish Civil War drama The Angel Wore Red (1960) with Ava Gardner. Both were big-budgeted films, but hampered by poor scripts, and after both films failed, Bogarde avoided Hollywood from then on.
He was reportedly quite smitten with his French "Song Without End" co-star Capucine, and wanted to marry her. Capucine, who suffered from bi-polar disorder, was bisexual with an admitted preference for women. The relationship did not lead to marriage, but did result in a long-term friendship. It apparently was his only serious relationship with a woman, though he had many women friends, including his I Could Go on Singing (1963) co-star Judy Garland.
In the early 1960s, with the expiration of his Rank contract, Bogarde made the decision to abandon his hugely successful career in commercial movies and concentrate on more complex, art house films (at the same time, Burt Lancaster made a similar decision, though Lancaster continued to alternate his artistic ventures with more crassly commercial endeavors). Bogarde appeared in Basil Dearden's seminal film Victim (1961), the first British movie to sympathetically address the persecution of homosexuals. His career choice alienated many of his old fans, but he was no longer interested in being a commercial movie star; he, like Lancaster, was interested in developing as an actor and artist (however, that sense of finding himself as an actor did not extend to the stage. His reputation was such in 1963 that he was invited by National Theatre director Laurence Olivier to appear as Hamlet to open the newly built Chichester Festival Theatre. That production of the eponymous play also was intended to open the National Theatre's first season in London. Bogarde declined, and the honor went instead to Peter O'Toole, who floundered in the part.)
Jack Grimston, in Bogarde's "Sunday Times" obituary of May 9, 1999, entitled "Bogarde, a solitary star at the edge of the spotlight," said of the late actor that he "belonged to a group that was rare in the British cinema. He was a fine screen player who owed little to the stage. Dilys Powell, the Sunday Times film critic, wrote of him before her own death: 'Most of our gifted film players really belonged to the theater. Bogarde belonged to the screen.'" Bogarde had won the London Critics Circle's Dilys Powell award for outstanding contribution to cinema in 1992.
Appearing in "Victim" was a huge career gamble. In the film, Bogarde played a married barrister who is being blackmailed over his closeted homosexuality. Rather than let the blackmail continue, and allow the perpetrators to victimize other gay men, Bogarde's character effectively sacrifices himself, specifically his marriage and his career, by bravely confessing to be gay (homosexuality was an offence in the United Kingdom until 1967, and there reportedly had been a police crackdown against homosexuals after World War II which made gay men particularly vulnerable to blackmail).
The film was not released in mainstream theaters in the US, as the Production Code Administration (PCA) refused to classify the film and most theaters would not show films that did not carry the PCA seal of approval. "Victim" was the antithesis of the light comedy of Bogarde's "Doctor" movies, and many fans of his character Simon Sparrow were forever alienated by his portrayal of a homosexual. For himself, Bogarde was proud of the film and his participation in it, which many think stimulated public debate over homosexuality. The film undoubtedly raised the public consciousness over the egregious and unjust individual costs of anti-gay bigotry. The public attitude towards the "love that dared not speak its name" changed enough so that within six years, the 1967 Sexual Offences Act decriminalizing homosexual acts between adults passed Parliament. Bogarde reported that he received many letters praising him for playing the role. His courage in taking on such a role is even more significant in that he most likely was gay himself, and thus exposed himself to a backlash.
Bogarde always publicly denied he was a homosexual, though later in life he did confess that he and his manager, Anthony Forwood, had a long-term relationship. When Bogarde met him in 1939, Forwood was a theatrical manager, who eventually married and divorced Glynis Johns. Forwood became Bogarde's friend and subsequently his life partner, and the two moved to France together in 1968. They bought a 15th-century farmhouse near Grasse in Provence in the early 1970s, which they restored. Bogarde and Forwood lived in the house until 1983, when they returned to London so that Forwood could be treated for cancer, from which he eventually died in 1988. Bogarde nursed him in the last few months of his life. After Forwood died, Bogarde was left rudderless and he became more reclusive, eventually retiring from films after Daddy Nostalgia (1990).
Mark Rowe and Jeremy Kay, in their obituary of Bogarde, "Two brilliant lives - on film and in print," published in "The Independent" on May, 9, 1999, wrote, "Although he documented with frankness his early sexual encounters with girls and later his adoring love for Kay Kendall and Judy Garland, he never wrote about his longest and closest relationship - with his friend and manager for more than 50 years, Tony Forwood. Sir Dirk said the clues to his private life were in his books. "If you've got your wits about you, you will know who I am." The British documentary The Private Dirk Bogarde: Part One (2001) made with the permission of his family, stressed the fact that he and Forwood were committed lifelong partners.
In the same issue, the National Film Theatre's David Thompson, in the article "The public understood he was essentially gay," wrote about Bogarde at his high-water mark in the 1950s, that "Audiences of that time loved him . . . Very few people picked up on the fact that there was a distinct gay undertone. It says something about British audiences of the time. He had the good fortune to break out of that prison, and it came through the film Victim (1961), where he played a gay character, and through meeting with Joseph Losey, who directed him in The Servant (1963). For the first time, Bogarde's ambivalence was exploited and used by film."
Bogarde's sexuality is not the issue; what was striking was that it was an act of personal courage for one of Britian's leading box-office attractions to appear in such a provocative and controversial film. Even in the 21st century, many mainstream actors are afraid to play a gay character lest they engender a public backlash against themselves, which is much less likely than it was more than 40 years ago when Bogarde made "Victim."
Apart from sociology, "Victim" marks the milestone in which critics and audiences could discern the metamorphosis of Bogarde into the mature actor who went on to become one of the cinema's finest performers. Most of Bogarde's best and most serious roles come after "Victim," the film in which he first stretched himself and broke out of the mold of "movie star." He received the first of his six nominations as Best Actor from the British Academy of Film & Television Arts (BAFTA) for the film.
Bogarde co-starred with John Mills in The Singer Not the Song (1961), and with Alec Guinness in Damn the Defiant! (1962) (a.k.a. "Damn the Defiant!"). In 1963 he reunited with Losey to film the first of two Losey films with screenplays by Pinter. Bogarde's participation in the two Losey/Pinter collaborations, The Servant (1963) and Accident (1967), in addition to 1964's "King & Country", solidified his reputation. Critics and savvy moviegoers appreciated the fact that Bogarde had developed into a first-rate actor. For his role as the eponymous servant, Bogarde won BAFTA's Best Actor Award. He had now "officially" arrived in the inner circle of the best British film actors.
These three films also elevated Losey into the ranks of major directors (Bogarde also starred in Losey's 1966 spy spoof Modesty Blaise (1966), but that film did little to enhance either man's reputation. He turned down the opportunity to appear in Losey's The Assassination of Trotsky (1972) due to the poor quality of the script).
Philip French, in his obituary "Dark, exotic and yet essentially English", published in "The Observer" on May 9, 1999, said of Bogarde, "Losey discovered something more complex and sinister in his English persona and his performance as Barrett, the malevolent valet in 'The Servant,' scripted by Harold Pinter, is possibly the most subtle, revealing thing he ever did - by confronting his homosexuality in a non-gay context."
Losey told interviewer Michel Ciment that his work with Bogarde represented a turning point in the actor's career, when he developed into an actor of depth and power. He also frankly admitted to Ciment that without Bogarde, his career would have stagnated and never reached the heights of success and critical acclaim that it did in the 1960s.
Interestingly during the filming of "The Servant." Losey was hospitalized with pneumonia. He asked Bogarde to direct the film in order to keep shooting so that the producers would not cancel the film. A reluctant Bogarde complied with Losey's wishes and directed for ten days. He later said that he would never direct again.
Bogarde co-starred with up-and-coming actress Julie Christie in John Schlesinger's Darling (1965), for which Christie won a Best Actress Oscar and was vaulted into 1960s cinema superstardom. During the filming of the movie, both Bogarde and Christie were waiting to hear whether they would be cast as Yuri Zhivago and his lover Lara in David Lean's upcoming blockbuster Doctor Zhivago (1965). Christie got the call, Bogarde didn't, but he was well along in the process of establishing himself as one of the screen's best and most important actors. He won his second BAFTA Best Actor Award for his performance in "Darling."
Bogarde went on to major starring roles in such important pictures as The Fixer (1968), for which Alan Bates won a Best Actor Academy Award nomination. While Bogarde never was nominated for an Oscar, he had the honor of starring in two films for Luchino Visconti, The Damned (1969) ("The Damned") and Death in Venice (1971), based on Thomas Mann's novella "Death in Venice." Bogarde felt that his performance as Gustav von Aschenbach, the dying composer in love with a young boy and with the concept of beauty, in "Death in Venice" was the "the peak and end of my career . . . I can never hope to give a better performance in a better film."
Visconti told Bogarde that when the lights went up in a Los Angeles screening room after a showing of "Death in Venice" for American studio executives, no one said anything. The silence encouraged Visconti, who believed it meant that the executives were undergoing a catharsis after watching his masterpiece. However, he soon realized that, in Bogarde's own words, "Apparently they were stunned into horrified silence . . . A group of slumped nylon-suited men stared dully at the blank screen." One nervous executive, feeling something should be said, got up and asked, "Signore Visconti, who was responsible for the score of the film?"
"Gustav Mahler," Visconti replied.
"Just great!", said the nervous man. "I think we should sign him."
After "Venice", Bogarde made only seven films over the next two decades and was scathing about the quality of the scripts he was offered. To express himself artistically, he began to write. In his third volumes of autobiography, he wrote, "No longer do the great Jewish dynasties hold power: the people who were, when all is said and done, the Picture People. Now the cinema is controlled by vast firms like Xerox, Gulf & Western, and many others who deal in anything from sanitary-ware to property development. These huge conglomerates, faceless, soulless, are concerned only with making a profit; never a work of art . . . "
He rued the fact that "it is pointless to be 'superb' in a commercial failure; and most of the films which I had deliberately chosen to make in the last few years were, by and large, just that. Or so I am always informed by the businessmen. The critics may have liked them extravagantly, but the distributors shy away from what they term 'A Critic's Film', for it often means that the public will stay away. Which, in the mass, they do: and if you don't make money at the box-office you are not asked back to play again."
However, the courageous artist was not to be daunted: "But I'd had very good innings. Better than most. So what the hell?" His well-written works were enthusiastically received by critics and the book-buying public.
Bogarde appeared in another film that flirted with the theme of German fascism, Liliana Cavani's highly controversial The Night Porter (1974) ("The Night Porter"). He played an ex-SS officer who encounters a woman with whom he had been engaged in a sado-masochistic affair at a World War II Nazi extermination camp. Many critics found the film, which featured extensive nudity courtesy of Charlotte Rampling, crassly offensive, but no one faulted Bogarde's performance.
He played Lt. Gen. Frederick "Boy" Browning in the all-star blockbuster A Bridge Too Far (1977). Although some of his fellow actors were World War II veterans, only Bogarde had been involved in the actual battle. His performance arguably is the best in the film. Appearing in Alain Resnais' art house hit Providence (1977) gave Bogarde the opportunity to co-star with John Gielgud. He also starred in German wunderkind Rainer Werner Fassbinder's adaptation of Vladimir Nabokov's Despair (1978), with a script by Tom Stoppard. Though the film was not much of a critical success, Bogarde's acting as 1930s German businessman Hermann Hermann, a man who chooses to go mad when faced with the paradoxes of his life in his proto-fascist fatherland, was highly praised.
Bogarde enjoyed working with Fassbinder. He wrote that "Rainer's work was extraordinarily similar to that of Visconti's; despite their age difference, they both behaved, on set, in much the same manner. Both had an incredible knowledge of the camera: the first essential. Both knew how it could be made to function; they had the same feeling for movement on the screen, of the all-important (and often-neglected) 'pacing' of a film, from start to finish, of composition, of texture, and probably most of all they shared that strange ability to explore and probe into the very depths of the character which one had offered them."
After his experience with Fassbinder, he acted only four more times, twice in feature films and twice on television. Bogarde was nominated for a Golden Globe for playing Roald Dahl in The Patricia Neal Story (1981). He got rave reviews playing Jane Birkin's father in Bertrand Tavernier's Daddy Nostalgia (1990), his last film.
In 1984 Bogarde was asked to serve as president of the jury at the Cannes Film Festival, a huge honor for the actor, as he was the first Briton ever to serve in that capacity. Two years earlier he had been made a Chevalier de l'Ordre des lettres 1982. A decade later, he was knighted by Queen Elizabeth II on February 13, 1992.
Bogarde won two Best Actor Awards out of six nominations from the British Academy of Film & Television Arts, for "The Servant" and "Darling" in 1964 and 1966, respectively. He was also nominated in 1962 for "Victim," in 1968 for "Accident" and Our Mother's House (1967) and in 1972 for "Morte a Venezia."
Bogarde suffered a stroke in 1996, and though it rendered him partially paralyzed, he was able to recover and live in his own flat in Chelsea. However, by May of 1998 he required around-the-clock nursing care, and he had his lawyers draw up a "living will," also known as a no-resuscitation order. Bogarde publicly came out in favor of voluntary euthanasia, becoming Vice President of the Voluntary Euthanasia Society. He publicly addressed the subject of his own "living will," which ordered that no extraordinary measures be taken to keep him alive should he become terminally ill.
The living will proved unnecessary. Dirk Bogarde died of a heart attack on May 8, 1999, in his home in Chelsea, London, England. According to his nephew Brock Van den Bogaerde, the family planned to hold a private funeral but no memorial service in accordance with his uncle's wish "just to forget me." Bogarde wanted to be cremated and have his ashes scattered in France, and accordingly, his remains were returned to Provence.
Margaret Hinxman, in her May 10, 1999, obituary in "The Guardian", said of him, "At his peak and with directors he trusted - Joseph Losey, Luchino Visconti and Alain Resnais - Dirk Bogarde . . . was probably the finest, most complete, actor on the screen."
Clive Fisher's obituary in "The Independent" on May 10, 1999, praised Bogarde as "a major figure because, wherever they were made, his finest films are all somehow about him. He was a great self-portraitist and the screen persona he fashioned, a stylization of his private being, not only dominated its surroundings but spoke subliminally and powerfully to British audiences about the tensions of the time, about connivances and cruel respectabilities of England in the Fifties and Sixties."
The secret of Dirk Bogarde's success as a great cinema actor was his intimate relationship with the camera. Bogarde believed that the key to acting on film was the eyes, specifically, the "look" of the actor. Like Alan Ladd, it didn't matter if an actor was good with line readings if they had mastery over the "look." For many critics and movie-goers at the end of the 20th century, Dirk Bogarde's face epitomized the "look" of Britain in the tumultuous decades after the Second World War.
David Tindle's portrait of Bogarde is part of the collection of London's National Portrait Gallery, London. In 1999, the portrait, on temporary loan, was displayed at 10 Downing Street, the Prime Minister's official residence, with other modern works of art. Officially, Dirk Bogarde had become the look of Britain.--Victim--
--The Damned--
--Death In Venice--
--Our Mothers House--- Actor
- Writer
- Soundtrack
Originally born Harris Glen Milstead just after the end of WWII, Baltimore's most outrageous resident eventually became the international icon of bad taste cinema, as the always shocking and highly entertaining transvestite performer, Divine.
Milstead met maverick film director & good friend, John Waters, at high school in Baltimore, and the two combined to star in and direct several ultra low budget, taboo breaking cult films of the early 1970s. Their first efforts included Roman Candles (1967), Eat Your Makeup (1968) and Mondo Trasho (1969)....however, their most infamous work together was the amazing Pink Flamingos (1972), in which Divine starred as "Babs Johnson", the "filthiest person alive" living in a pink trailer with her egg-eating grandmother, chicken-loving son and voyeuristic daughter.
Divine also starred as career criminal Dawn Davenport in Female Trouble (1974), as bored housewife Francine Fishpaw in Polyester (1981), as outlaw gal Rosie Velez in Lust in the Dust (1984) and in Waters' loving (but still slightly bizarre) salute to teen dance TV shows as Ricki Lake's mother in the superb Hairspray (1988).
Milstead's health deteriorated due to to his obese frame, and he passed away in his sleep from a combination of heart attack and apnea in 1988.--Pink Flamingos--
--Female Trouble--
--Polyester--
--Hairspray--- John Dall was born John Dall Thompson on May 26, 1920, the younger son of Mr. Charles Jenner Thompson and Mrs. Henry (née Worthington) Thompson. He made his Broadway debut in Norman Krasna's comedy, 'Dear Ruth', directed by Moss Hart, in 1944. The show was a hit, running for over a year and a half and 680 performances.
He next appeared on Broadway in Jean-Paul Sartre's 'Red Gloves' in 1948. The show ran for 113 performances. Dall's penultimate stint on Broadway, in the 1950 revival of 'The Heiress', was a flop, closing after 16 performances. He had the role of the callow fortune hunter Morris Townsend, played so memorably by Montgomery Clift in William Wyler's 1949 movie version, The Heiress (1949).
Dall received a Best Supporting Actor Oscar nomination for The Corn Is Green (1945), his debut film. He reached the height of his movie career in 1948, playing one of the two students modeled after the 1920s' thrill killers Leopold & Loeb in Alfred Hitchcock's Rope (1948). Unfortunately for Dall, "Rope" was an interesting flop. The other role for which he is best remembered, the firearms fetishist in Gun Crazy (1950) (originally released as "Deadly is the Female", the name of the short story the movie was based on), earned him a place in the film noir pantheon. It was a B-movie and, like "Rope", also flopped. The only prominent film he appeared in subsequently was Stanley Kubrick-Kirk Douglas' Spartacus (1960) in 1960, which--like "Gun Crazy"--was scripted by Dalton Trumbo.
Dall, whose career started out so promisingly in the 1940s, getting an Oscar nod for his movie debut, never gained any traction. He appeared in only eight movies from 1945 to 1961, though he did many TV acting gigs. He died in 1971, aged 50, of a heart attack due to underlying myocarditis, according to his death certificate.--Gun Crazy--
--Rope--
--Spartacus--
--Atlantis, The Lost City-- - Actor
- Director
- Producer
Born in Pasadena, California, George Nader became interested in acting while still in school and appeared in several productions at the Pasadena Playhouse. This led to several small parts in movies before earning the lead role in the ridiculous 3-D thriller Robot Monster (1953). The movie was bad but profitable, and Nader soon had a contract with Universal Pictures. Unfortunately, the studio already had on its roster such good-looking and athletic actors as Rock Hudson, Tony Curtis and Jeff Chandler, so Nader often found himself being cast in their leftovers, usually playing parts that emphasized his "beefcake" appeal. (At 6' 1" and 180 pounds, Nader had the kind of physique fan magazines drooled over and unlike many of his colleagues, he frequently appeared with his chest hair intact.) However, he did enjoy a few good years in the mid-1950s, turning in a commendable performance in Away All Boats (1956) before his career began to decline. He tried his hand at three TV series and then relocated to Europe, where he enjoyed a modest revival in the late 1960s starring as "Jerry Cotton" in a series of West German films.--Robot Monster--
--Sins Of Jezebel--
--The Second Greatest Sex--
--Four Girls In Town--- Actor
- Soundtrack
John Inman was born on 28 June 1935 in Preston, Lancashire, England, UK. He was an actor, known for Are You Being Served? (1972), Are You Being Served? (1977) and Odd Man Out (1977). He was married to Ron Lynch. He died on 8 March 2007 in Paddington, London, England, UK.--Are You Being Served--
--The Mumbo Jumbo--
--The Tall Man--
--Odd Man Out--- Actor
- Soundtrack
Tall, suave and sophisticated Cesar Romero actually had two claims to fame in Hollywood. To one generation, he was the distinguished Latin lover of numerous musicals and romantic comedies, and the rogue bandit The Cisco Kid in a string of low-budget westerns. However, to a younger generation weaned on television, Romero was better known as the white-faced, green-haired, cackling villain The Joker of the camp 1960s TV series Batman (1966), and as a bumbling corporate villain in a spate of Walt Disney comedies, such as chasing a young Kurt Russell in the fun-packed The Computer Wore Tennis Shoes (1969). Fans and critics alike agreed that Romero was a major talent who proved himself an enduring and versatile star in an overwhelming variety of roles in a career as an actor, dancer and comedian that lasted nearly 60 years.
Cesar Romero was born of Cuban parents in New York City in February 1907. He attended the Collegiate School and Riverdale Country School before working as a ballroom dancer. He first appeared on Broadway in the 1927 production of Lady Do, and then in the stage production of Strictly Dishonorable. His first film role was in The Shadow Laughs (1933), after which he gave strong performances in The Devil Is a Woman (1935) and in the Shirley Temple favorite, Wee Willie Winkie (1937).
Critics and fans generally agree that Romero's best performance was as the Spanish explorer Cortez in Captain from Castile (1947). However, he also shone in the delightful Julia Misbehaves (1948) and several other breezy and lighthearted escapades. In 1953 he starred in the 39-part espionage TV serial Passport to Danger (1954), which earned him a considerable income due to a canny profit-sharing arrangement. Although Romero became quite wealthy and had no need to work, he could not stay away from being in front of the cameras. He continued to appear in a broad variety of film roles, but surprised everyone in Hollywood by taking on the role of "The Joker" in the hugely successful TV series Batman (1966). He refused to shave his trademark mustache for the role, and close observation shows how the white clown makeup went straight on over his much loved mustache! The appearances in Batman were actually only a small part of the enormous amount of work that Romero contributed to television. He guest-starred in dozens of shows, including Rawhide (1959), 77 Sunset Strip (1958), Zorro (1957), Fantasy Island (1977) and Murder, She Wrote (1984). However, it was The Joker for which his TV work was best remembered, and Romero often remarked that for many, many years after Batman ended, fans would stop him and ask him to chuckle and giggle away just like he did as The Joker. Romero always obliged, and both he and the fans just loved it!
With a new appeal to a younger fan base, Romero turned up in three highly popular Disney comedies: The Computer Wore Tennis Shoes (1969), Now You See Him, Now You Don't (1972) and The Strongest Man in the World (1975) as corrupt but inept villain A.J. Arno. Throughout the remainder of the 1980s Romero remained busy, and even at 78 years of age the ladies still loved his charm, and he was cast as Jane Wyman's love interest in the top-rated prime-time soap opera Falcon Crest (1981), playing Peter Stavros from 1985 to 1987.
Although Romero stopped acting in 1990, he remained busy, regularly hosting classic movie programs on cable television. A talented and much loved Hollywood icon, he passed away on New Year's Day 1994, at the age of 86.--Batman: TV Series--
--The Little Princess--
-- The Thin Man--
--Passport To Danger--- Actor
- Soundtrack
Richard Deacon was the bald, bespectacled character actor most famous for playing television producer Mel Cooley on The Dick Van Dyke Show (1961) from 1961 to 1966. In the first season of that show he also continued to appear on the series he was already appearing on, Leave It to Beaver (1957), playing Lumpy Rutherford's father Fred.
Born on May 14, 1922, in Philadelphia, Pennsylvania, the tall, bass-voiced Deacon took to the boards as a stage actor. At the beginning of his career, stage legend Helen Hayes told Deacon that he would never become a leading man but encouraged him to become a character actor. It was good advice, as Deacon's show business career lasted decades and only was terminated by his death.
Because of his looks and authoritative voice, Deacon usually was typecast as a humorless or foul-tempered authority figure. He became a highly regarded supporting player in films, complimented by many of the leading actors he played opposite, including Jack Benny, Lou Costello and Cary Grant. However, it was in television that Deacon really thrived.
It was his five-year gig on "The Dick Van Dyke Show", where he earned television immortality playing the long-suffering brother-in-law of Alan Brady (the faux-TV star for whom Dick Van Dyke and his companion writers, Morey Amsterdam and Rose Marie, wrote). Deacon's character was constantly harassed by Amsterdam's diminutive wisecracking character Buddy Sorrell. After the show ceased production (still at the top of the ratings; Carl Reiner had terminated the series in order to go out while the show was on top), Deacon co-starred on the TV sitcom The Mothers-In-Law (1967) with Kaye Ballard and Eve Arden (Deacon replaced original series co-star Roger C. Carmel as Ballard's husband in the second season after Carmel was fired from the series by producer Desi Arnaz for refusing to accept a pay cut). After the show was canceled, Deacon returned to work as a freelance actor. Back on the boards, he appeared in the long-running Broadway production of "Hello Dolly" as Horace Vandergelder, opposite Phyllis Diller as the eponymous heroine in the 1969-70 season. Deacon continued appearing on television and in the movies until his death.
In real life, Deacon was a gourmet chef. In the 1980s he hosted a Canadian TV program on microwave cookery, and even wrote a companion book on the subject
On the night of August 8, 1984, he was stricken by a heart attack in his Beverly Hills home. He was rushed to Cedars Sinai Hospital, where he died later that night. He was 62 years old.--The Dick Van Dyke Show--
--Leave It To Beaver--
-- The Mothers-In-Law--
--A Nice Little Bank That Should Be Robbed--- This urbane, sourly handsome British actor was born to privilege and most of his roles would follow suit. Born Dennistoun John Franklyn Rose-Price in Berkshire in 1915, Dennis Price, the son of a brigadier-general, was expected to abide by his family wishes and make a career for himself in the army or the church. Instead he became an actor. First on stage (Oxford University Dramatic Society) where he debuted with John Gielgud in "Richard II" in 1937, he was further promoted in the theatre by Noël Coward.
After brief extra work, Price nabbed early star-making film roles in several overbaked Gainsborough mysteries/melodramas, including A Place of One's Own (1945), The Magic Bow (1946) and Caravan (1946), but the one showcase role that could have led him to Hollywood, that of the title poet in The Bad Lord Byron (1949), proved a critical and commercial failure. He took this particularly hard and fell into severe depression. His fatally charming serial murderer in Kind Hearts and Coronets (1949), in which he does in nearly all of Alec Guinness' eight characters (Guiness plays eight different roles), is arguably his crowning achievement on celluloid.
By the 50s Price was suffering from severe alcoholism, which adversely affected his personal and professional career. A marriage to bit actress Joan Schofield in 1939 ended eleven years later, due to his substance abuse problem and homosexuality, the latter being a source of great internal anguish for him. They had two daughters.
Price became less reliable and fell steeply in his ranking, moving into less quality "B" pictures. Eccentric comedy renewed his fading star a bit in such delightful farces as Private's Progress (1956), I'm All Right Jack (1959) and School for Scoundrels (1960). TV also saved him for a time in the 60s with the successful series The World of Wooster (1965), in which he played the disdainful butler, Jeeves.
Bad times, however, resurfaced. He filed bankruptcy in 1967 and moved to the remote Channel Island of Sark for refuge. Many of his roles were reduced to glorified cameos and the necessity for cash relegated him to appearing in campy "Z" grade cheapfests, many helmed by the infamous writer/director Jesús Franco, a sort of Spanish version of Roger Corman. Vampyros Lesbos (1971) was just one of his dreadful entries. Price also played Dr. Frankenstein for Franco in Dracula, Prisoner of Frankenstein (1972) [Dracula vs. Frankenstein] and the The Erotic Rites of Frankenstein (1973) [The Erotic Rites of Frankenstein]. Fully bloated and in delicate health, he died in 1973 at age 58 in a public ward from liver cirrhosis. A sad ending for one who of Britain's more promising actors and film stars.--Victim--
--Vampyros Lesbos--
--Tunes Of Glory--
--Kind Hearts And Coronets-- - Writer
- Actor
- Additional Crew
Graham Chapman was born on January 8, 1941 in Leicester, England while a German air raid was in progress. Graham's father was a chief police inspector and probably inspired the constables Graham often portrayed later in comedy sketches. Graham studied medicine in college and earned an M.D., but he practiced medicine for only a few years.
At Cambridge, he took part in a series of comedy revues and shortly after completing his medical studies at St. Bartholomew's Hospital, Graham realized what he wanted to do with his life. He wanted to perform comedy. In 1969, Graham along with University friends John Cleese, Eric Idle, Michael Palin, Terry Jones and American Terry Gilliam formed their own comedy group called Monty Python. Their BBC TV series Monty Python's Flying Circus (1969), which aired a short while later was a an instant hit. Their often self-referential style of humor was delightfully original but completely accessible to most audiences in the UK.
Before the show appeared on public television in the US, many people assumed that Americans would find Monty Python much too British to consider it funny. But PBS never had a larger audience than when stations began to air it during the early 1970s. The classic routines have since become standard college humor.
So enduring was the Python humor that fans know entire sketches such as "The Pet Shop," "Nudge-Nudge, Wink-Wink," "Argument Clinic," and "Penguin on the Telly." Graham was a standout of the group with his tall, blond profile and his zany characters (one of the more memorable was Colonel Muriel Volestrangler, a vaguely military-type character who would stop a sketch because it was "much too silly").
Graham was openly gay long before it was socially acceptable, and was open about his long-term relationship with writer David Sherlock, who lived with him for 24 years. He even adopted and raised a teenage runaway named John Tomiczek. Graham played the title role in the movie Life of Brian (1979) as well as King Arthur in Monty Python and the Holy Grail (1975). By the late 1970s, most of the Python members were pursuing independent movie projects and the group was slowly fading into obscurity after their last successful effort The Meaning of Life (1983). Also in 1983, Graham co-wrote and starred in the movie Yellowbeard (1983), which received negative reviews.
In 1988, Graham began working on another series when his health began to decline. A longtime alcoholic, who suffered liver damage before he stopped drinking for good in 1977, Graham began to have trouble concentrating at work. In November 1988, a routine visit to a dentist revealed a malignant tumor on one of his tonsils which was surgically removed. A visit to the doctor a few months later revealed another tumor on his spine which had to be removed which confined him to a wheelchair. During most of 1989, he underwent a series of surgical operations and radiation therapy but for every tumor that was found and removed, another would form either along his spine or in his throat. By July 1989, his cancer was declared terminal and that he would not survive the year, yet he continued to pursue treatments which included chemotherapy. In his wheelchair, he attended the September 1989 taping for the Monty Python's 20th anniversary special. But on October 1, he was hospitalized after a massive stroke which turned into a hemorrhage. He died at the Maidstone hospital at age 48 on October 4, 1989 from complications of the stroke as well as throat and spinal cancer.--Monty Python's Flying Circus--
--Month Python And The Holy Grail--
--The Odd Job--
--The Meaning Of Life--- Actor
- Director
- Writer
Anthony Perkins was born April 4, 1932 in New York City, to Janet Esselstyn (Rane) and Osgood Perkins, an actor of both stage and film. His father died when he was five. Anthony's paternal great-grandfather was engraver Andrew Varick Stout Anthony. Perkins attended the Brooks School, the Browne & Nichols School, Columbia University and Rollins College. He made his screen debut in The Actress (1953), and was nominated for a Best Supporting Actor Oscar Friendly Persuasion (1956). Four years later, he appeared in what would be his most noted role, Norman Bates in Psycho (1960), memorializing him into film history forever.--Psycho--
--Desire Under The Elms--
--The Matchmaker--
--Crimes Of Passion--- Actor
- Director
- Soundtrack
Michael Jeter was an American actor from Tennessee. His best known roles were that of math teacher and assistant football coach Herman Stiles in the sitcom "Evening Shade" (1990-1994) and "Mr. Noodle's brother, Mister Noodle" in "Sesame Street", a role he played from 2000 to 2003. He specialized in playing "eccentric, pretentious, or wimpy characters".
In 1952, Jeter was born in Lawrenceburg, Tennessee, located between Chattanooga and Memphis. The town is mostly associated with local hero Davy Crockett (1786-1836), who owned a powder mill there in the early 19th century. The area is home to the David Crockett State Park.
Jeter's father was dentist William Claud Jeter (1922-2010), and his mother was housewife Virginia Raines (1927-2019). The Jeters were a large family, and Jeter had one brother and four sisters. Jeter enrolled at the Memphis State University (later renamed to the University of Memphis) with the intention to follow a medical career. His interests changed, and he pursued an acting education instead.
Jeter started his career as a theatrical actor, regularly performing at the Circuit Theatre and Playhouse on the Square, both located in Memphis. He made his film debut in the anti-war film "Hair" (1979), playing Woodrow Sheldon. The film depicted the hippie counterculture and the Vietnam War.
Jeter's early film roles included appearing in the historical drama "Ragtime" (1981), the sex comedy "Soup for One" (1982), the mockumentary "Zelig" (1983), the comedy film "The Money Pit" (1986), the action thriller "Dead Bang" (1989), and the action comedy "Tango & Cash" (1989). Meanwhile he appeared in guest-star roles in then-popular television series, such as "Night Court" and "Designing Women". His first recurring role in television was that of Dr. Art Makter in the short-lived medical drama "Hothouse". He appeared in all 7 episodes of the series.
Jeter found fame and critical success when playing the nerdy Herman Stiles in the sitcom "Evening Shade". He won a Primetime Emmy Award for Outstanding Supporting Actor in a Comedy Series and the Viewers for Quality Television Award for Best Supporting Actor in a Quality Comedy Series. The series lasted for 4 seasons, and a total of 98 episodes
Jeter guest starred as Peter Lebeck in three episodes of "Picket Fences". For this role he was nominated for the Primetime Emmy Award for Outstanding Guest Actor in a Drama Series in 1993, but the award was won by rival actor Laurence Fishburne (1961-). Jeter had another notable television role as Bob Ryan in an episode of "Chicago Hope". He was again nominated for the Primetime Emmy Award for Outstanding Guest Actor in a Drama Series in 1996 for this role, but the award was instead won by rival actor Peter Boyle (1935-2006).
Jeter played mostly supporting roles in 1990s film. He played (amon others_ a homeless cabaret singer in "The Fisher King" (1991), Father Ignatius in the Catholic nun-themed comedy "Sister Act 2: Back in the Habit" (1993), the inventor Old Gregor in the post-apocalyptic film "Waterworld" (1995), alcoholic clown Norm Snively in the sports comedy "Air Bud" (1997), and sympathetic prisoner Eduard 'Del' Delacroix in "The Green Mile" (1999).
Jeter next earned the recurring role of "Mr. Noodle's brother, Mister Noodle" in "Sesame Street", His character replaced Mr. Noodle (played by Bill Irwin) in the "Elmo's World" segments of the series. Both character were silent mimes who made mistakes, but were able to correct them with the help of "enthusiastic kid voice overs". Jeter was enthusiastic about his role, and called it a career favorite. He played the role until his death.
The openly gay Jeter was HIV positive, but had been in good health for many years. In March 2003, Jeter was found dead at his home in Los Angeles. According to his life partner Sean Blue, the death was caused by an epileptic seizure. Jeter was 50-years-old at the time of death.--Evening Shade--
--Fear And Loathing In Las Vegas--
--Mouse Hunt---
--Sister Act II: Back In The Habit--- Actor
- Soundtrack
Christopher Hewett was born on 5 April 1921 in Worthing, Sussex, England, UK. He was an actor, known for The Producers (1967), Mr. Belvedere (1985) and Fantasy Island (1977). He died on 3 August 2001 in Los Angeles, California, USA.--Mr. Belvedere--
--The Producers--
--Fantasy Island--
--Ratboy--- Actor
- Producer
Widely regarded as one of the greatest stage and screen actors both in his native UK and internationally, the unparalleled Nigel Hawthorne was born in Coventry, England on 5 April 1929, raised in South Africa and returned to the UK in the 1950s with his extensive work as a great gentleman of acting following during the decade as well as in the 1960s, 1970s and 1980s. His portrayal of 'Sir Humphrey Appleby' in the BBC comedy Yes Minister (1980) won him international acclaim in the 1980s. In 1992, he was awarded the Laurence Olivier Theatre Award for his sublime interpretation of 'George III' in Alan Bennett's hit stage play, "The Madness of King George III" and he was also nominated for an Academy Award of Best Actor in a Leading Role in its brilliant film adaptation The Madness of King George (1994), both of them exquisitely directed by Nicholas Hytner.--The Madness Of King George--
--Yes Minister--
--Demolition Man--
--Amistad--- Writer
- Actor
- Music Department
Noel Coward virtually invented the concept of Englishness for the 20th century. An astounding polymath - dramatist, actor, writer, composer, lyricist, painter, and wit -- he was defined by his Englishness as much as he defined it. He was indeed the first Brit pop star, the first ambassador of "cool Britannia." Even before his 1924 drugs-and-sex scandal of The Vortex, his fans were hanging out of their scarves over the theater balcony, imitating their idol's dress and repeating each "Noelism" with glee. Born in suburban Teddington on 16 December 1899, Coward was on stage by the age of six, and writing his first drama ten years later. A visit to New York in 1921 infused him with the pace of Broadway shows, and he injected its speed into staid British drama and music to create a high-octane rush for the jazz-mad, dance-crazy 1920s. Coward's style was imitated everywhere, as otherwise quite normal Englishmen donned dressing gowns, stuck cigarettes in long holders and called each other "dahling"; his revues propagated the message, with songs sentimental ("A Room With A View," "I'll See You Again") and satirical ("Mad Dogs and Englishmen," "Don't Put Your Daughter On the Stage, Mrs. Worthington"). His between-the-wars celebrity reached a peak in 1930 with "Private Lives," by which time he had become the highest earning author in the western world. With the onset of World War II he redefined the spirit of the country in films such as This Happy Breed (1944), In Which We Serve (1942), Blithe Spirit (1945) and, perhaps most memorably, Brief Encounter (1945). In the postwar period, Coward, the aging Bright Young Thing, seemed outmoded by the Angry Young Men, but, like any modern pop star, he reinvented himself, this time as a hip cabaret singer: "Las Vegas, Flipping, Shouts "More!" as Noel Coward Wows 'Em in Cafe Turn" enthused Variety. By the 1960s, his reappraisal was complete -- "Dad's Renaissance", called it -- and his "Hay Fever" was the first work by a living author to be produced at the National Theatre. He was knighted -- at last -- in 1970, and died in his beloved Jamaica on 26 March 1973. Since his death, his reputation has grown. There is never a point at which his plays are not being performed, or his songs being sung. A playwright, director, actor, songwriter, filmmaker, novelist, wit . . . was there nothing this man couldn't do? Born into a musical family he was soon treading the boards in various music hall shows where he met a young girl called Gertrude Lawrence, a friendship and working partnership that lasted until her death. His early writings were mainly short songs and sketches for the revue shows popular in the 1920s, but even his early works often contained touches of the genius to come ("Parisian Pierrot" 1923). He went on to write and star (with Gertie) in his own revues, but the whiff of scandal was never far away, such as that from the drug addict portrayed in "The Vortex." Despite his obvious homosexual lifestyle he was taken to the hearts of the people and soon grew into one of the most popular writer/performers of his time.--Boom--
--The Italian Job--
--Around The World In 80 Days--
--Our Man In Havana--- Actor
- Producer
- Soundtrack
The nicknames, "The Prince of Pandemonium", "The Master of Mayhem" and "King of Camp and Confetti", are but a few valid applications that were thrust upon zany comedian Rip Taylor, whose flamboyant blend of burlesque and self-deprecating humor entertained audiences for over four decades. He headlined the top showrooms of Las Vegas, appeared on scores of television shows, starred in various musical stage slapstick comedies and even toyed with dramatic material over the years.
He was born Charles Elmer Taylor, Jr. in Washington, D.C., on January 13, 1931 to Charles Elmer Taylor Sr. and Elizabeth Evans Taylor. He began his career by tossing out one-liners in nightclubs and had his first big break on Ed Sullivan's The Ed Sullivan Show (1948) TV show in 1964. The tacky costumes, ridiculous props, handlebar mustache, wacky wigs and manic confetti-tossing didn't take long to follow as professional trademarks, and they soon made their way into the 1970s pop culture.
Frequently appearing on television, he appeared in everything from variety shows to talk shows (Merv Griffin and David Letterman) to sitcoms like The Monkees (1965). He was the gag man who delightfully wrangled out of every groan-inducing one-liner there was, eventually finding the perfect avenue for his brand of insanity via producer Chuck Barris and his syndicated TV shows of the 1970s and 1980s. Rip became a favorite panelist judge, along with Jaye P. Morgan, on Barris' The Gong Show (1976), and later served as host of the equally tacky The $1.98 Beauty Show (1978).
A mainstay in Las Vegas, whether as ringleader of a topless chorus line or opening act to a major entertainer, Rip also slayed 'em on Broadway ("Sugar Babies") and has demonstrated a fine singing instrument in musicals including "Anything Goes", "Oliver!" (as "Fagan"), "Peter Pan" (as "Captain Hook") and in a 1999 production of "A Funny Thing Happened on the Way to the Forum" (as "Pseudolus").
On a more serious side, he played Demi Moore's crusty boss in Indecent Proposal (1993) and showed up sans confetti as Kate Hudson's father in the Rob Reiner feature, Alex & Emma (2003).
For the most part, he continued merrily in such campy films as Barris' The Gong Show Movie (1980); the "Exorcist" spoof, Repossessed (1990), with Linda Blair and Leslie Nielsen; the foreign-made The Silence of the Hams (1994)and Jackass: The Movie (2002). Beginning in the early 1960s, when he first provided additional voices for The Jetsons (1962), Rip continued making voice-over work a viable means of income. His voice can be heard in such animated films as DuckTales the Movie: Treasure of the Lost Lamp (1990), Tom and Jerry: The Movie (1992) and Scooby-Doo and the Monster of Mexico (2003), and animated TV series as Whatever Happened to... Robot Jones? (2002) and The Emperor's New School (2006). He was nominated for an Emmy award for voicing "Uncle Fester" in the TV cartoon program, The Addams Family (1992).
Having suffered an epileptic seizure the week prior, 88-year-old Rip died of congestive heart failure on October 6, 2019, at Cedars-Sinai Medical Center in Los Angeles. Once briefly married to Las Vegas showgirl Rusty Rowe, whom he divorced in the early 1960s, Rip was involved in a long-term relationship with Robert Fortney at the time of his death.--Indecent Proposal--
--The Monkees--
--Chatterbox--
--Sigmund And The Sea Monsters--- Actor
- Additional Crew
Merritt Butrick was an American actor from Gainesville, Florida. He is primarily remembered for portraying Dr. David Marcus in the science fiction films "Star Trek II: The Wrath of Khan" (1982) and "Star Trek III: The Search for Spock" (1984). His character was depicted as a son of the Starfleet officer James Tiberius "Jim" Kirk (played by William Shatner) and the leading scientist Dr. Carol Marcus (played by Bibi Besch). Butrick also portrayed the one-shot character of Captain T'Jon in a 1988 episode of the science fiction series "Star Trek: The Next Generation". His character was depicted as a ship's commanding officer who had been tasked with transporting medication, but had become addicted to the drug felicium.
Butrick received his high school education at the Tamalpais High School, located in Mill Valley, California. The city is part of the San Francisco Bay Area. Butrick graduated from high school in 1977, and subsequently attended the California Institute of the Arts with the intent of becoming an actor. He dropped out, as his instructors thought that he did not have the necessary skills to become an actor. He subsequently found steady work as an actor throughout the 1980s.
In his television debut, Butrick portrayed a recurring rapist in two episodes of the police procedural "Hill Street Blues". His first major role in television was portraying the supporting character Johnny Slash in the sitcom "Square Pegs" (1982-1983). His character was depicted as a geeky high school student. Johnny demonstrated eccentric behavior, but insisted that he was not on drugs. He hung out with the social misfit Patty Greene (played by Sarah Jessica Parker), and was hinted to be attracted to her. The series was praised for its realism, but it was canceled prematurely. The production company received several complains concerning drug and alcohol abuse by teenage members of the cast, and decided to pull the plug to avoid further controversy.
Butrick's other films included the telekinesis-themed comedy "Zapped! (1982)", the corporate corruption-themed black comedy "Head Office" (1985), the dysfunctional family-themed drama "Shy People" (1987), the vampire-themed horror film "Fright Night Part 2" (1988), and the ghost-themed horror film "Death Spa" (1989). He received praise in 1988 for his portrayal of a ditzy male prostitute in the stage play "Kingfish".
In March 1989, Butrick died at the age of 29. His death was caused by toxoplasmosis, complicated by an AIDS infection. Two panels were dedicated to him as part of the NAMES Project AIDS Memorial Quilt, both referencing his role as David Marcus. A few of his former co-stars have recorded anecdotes about his life and career in DVD featurettes, though Butrick had few confidants.--Square Pegs--
--Star Trek II: The Wrath Of Khan--
--Zapped--
--Shy People--- Born in Baton Rouge, Louisiana, he studied at Louisiana State University and the Carnegie Institute of Technology. During WWII, he served in the Navy. His career was started in New York, acting in regional and Off-Broadway Theatre until his Broadway debut in the musical, "Candide" in 1956. Edmonds stage role in "The Importance of Being Earnest" and his work on the accompanying album led him to television roles. He is survived by his brother, Walter, Jr. of Baton Rouge. His only sister Alma Edmonds Fritchie passed in 2006.--Dark Shadows--
--House Of Dark Shadows--
--All My Children--
--Come Spy With Me-- - Actor
- Stunts
- Additional Crew
Jean Marais was a popular French cinema actor and director who played over 100 roles in film and on television, and was also known for his many talents as a writer, painter and sculptor.
He was born Jean Alfred Villain-Marais on December 11, 1913, in Cherbourg, France. His father practiced veterinarian medicine, then fought in the World War I, and eventually left the family. Young Jean Marais was taken to Paris at the age of 4. There he was raised by his mother and grandmother. He attended the Lycée Condorcet, a prestigious State school where also studied his future film partners such as Louis de Funes and Jean Cocteau, and the faculty had such figures as Jean-Paul Sartre. At the age of 13, Marais dropped out of Lycee Condorcet, he tried several other schools, albeit he did not complete his college education, instead he was placed in a Catholic boarding school. At 16, he left school and became involved in amateur acting. After being rejected from drama schools, he took a job as a photographer's assistant and also worked as a caddy at a golf club.
In 1933 Marais made his film debut in Les Amoureux (1933) (aka.. Les Amoureux), by director Marcel L'Herbier. In 1937, at a stage rehearsal of 'King Aedipus', Marais met Jean Cocteau, and they remained close friends until Cocteau's death. Cocteau had a major influence on life and career of Jean Marais who appeared in almost every one of Cocteau's films. Together they made such classics as Beauty and the Beast (1946), Orpheus (1950) and Testament of Orpheus (1960), to name a few.
During the World War II, Marais was an actor in the occupied Paris. After liberation of Paris in 1944, he became a truck driver for the French Army, he was decorated for his courage. During the war Marais was married to his film partner, actress Mila Parély, and their marriage was blessed by Cocteau, who wanted Marais to be happy. Marais and Mila Parély divorced after two years of marriage, and shortly after their divorce, they worked together again in 'Beauty and the Beast' (1946), under directorship of Jean Cocteau. During the 1950s, Marais shot to international fame, after starring in films directed by Cocteau, Visconti, and others.
During the 1960s and 1970s, Marais went on to star in several popular comedies, such as the Fantomas (1964) trilogy by director André Hunebelle. He co-starred with many major French actors of the time, including such stars as Louis de Funès and Mylène Demongeot in the Fantomas trilogy, and also Jean Gabin, Guy Delorme, Bourvil, Danielle Darrieux, Michèle Morgan, and Yves Montand.
Jean Marais was also a remarkable stage actor known for his association with Théâtre de Paris, Théâtre de l'Atelie, and the Comédie Francaise, among others. Marais received numerous international awards and recognitions for his contribution to film art, including the French Legion of Honour (1996). He spent his later years living in his house in Vallaruis, in the South of France where he was involved in painting, sculpture and pottery, and was visited by Pablo Picasso and other cultural figures. Jean Marais died of a heart failure on November 8, 1998, in Cannes, France, and was laid to rest in the small Cemetiere de Vallauris, France.--Beauty And The Beast--
--Orpheus--
--Stealing Beauty--
--Fantomas--- Actor
- Director
- Soundtrack
Robert Reed was an American actor, mostly known for television roles. His most famous role was that of pater familias Michael Paul "Mike" Brady in the popular sitcom "The Brady Bunch" (1969-1979). He returned to this role in several of the sitcom's sequels and spin-offs.
Reed was born under the name "John Robert Rietz Jr. " in 1932. His birthplace was Highland Park, Illinois, a suburb of Chicago. His parents were government worker John Robert Rietz Sr. and homemaker Helen Teaverbaugh. The couple were childhood sweethearts and married each other at age 18. Reed was their only child.
Due to his father's career transfers, Reed moved often as a child. He spend part of his childhood in Navasota, Texas and Shawnee, Oklahoma. The senior Reitz eventually retired from his government positions, and started a new life as a cattle farmer in Muskogee, Oklahoma. The Reitz family moved to a farm there.
As a youth, Reed joined the 4-H agricultural club, and demonstrated calves in agricultural shows. He was already fascinated with acting and music, and started performing as a theatrical and singer before he graduated high school. He had a side career as a radio announcer for local radio stations, and also helped produce radio dramas.
Reed graduated from Muskogeee's Central High School in 1950. He soon enrolled at Northwestern University in Evanston, Illinois, where he studied drama. His mentor was acting coach Alvina Krause (1893-1981). During his university years, Reed played the leading role in 8 different plays. Following his graduation, Reed studied abroad at Royal Academy of Dramatic Art in London.
With the completion of his studies, Reed started a career as a theatrical actor. He appeared in summer stock productions in Pennsylvania, and joined the off-Broadway theatre group "The Shakespearewrights" which (as their name suggested) specialized in Shakespearean plays. Reed had leading roles in the group's productions of "Romeo and Juliet" and "A Midsummer Night's Dream". He left the group to join the Chicago-based Studebaker Theatre company.
By the late 1950s, Reed remained a relatively obscure theatrical actor. He moved to Los Angeles in hope of finding higher-profile roles in film or television. In 1959, Reed made his television debut in a guest star role in the sitcom "Father Knows Best". He next had guest star roles in the science fiction series "Men into Space" (1959-1960), and the Western series "Lawman" (1958-1962). His film debut was the horror film "Bloodlust!" (1961), playing the human prey of a sadistic hunter. The film was a loose adaptation of the short story "The Most Dangerous Game" (1924) by Richard Connell (1893-1949).
Reed had his first major role in television as lawyer Kenneth Preston in the courtroom drama series "The Defenders" (1961-1965). Reed played the son and junior partner of lawyer Lawrence Preston (played by E. G. Marshall), in a series featuring a father-son legal team. The series lasted for 132 episodes, and was a ratings hit. The series earned a total of 22 Primetime Emmy Award nominations during its run.
Following the cancellation of "The Defenders", Reed was mostly reduced to supporting roles in television. He appeared in (among others) "Family Affair"," Ironside", "The Mod Squad", and "Bob Hope Presents The Chrysler Theatre". In 1968, Reed signed a contract to play a lead role in the television adaptation of the play "Barefoot in the Park" (1963) by Neil Simon. When it was decided that the television adaptation would feature a mostly African-American cast, Reed was offered a leading role in "The Brady Bunch" as a consolation prize.
"The Brady Bunch" lasted for 117 episodes, though it never was among the highest-rated shows on television. It found a larger audience in syndication after its cancellation, and has remained a cult favorite. Reed was not happy with the often silly scripts of the sitcom, and had regular arguments about suggested re-writes with the show's producer Sherwood Schwartz (1916-2011). On the other hand, Reed formed long-lasting friendships with most members of the series' main cast.
Reed refused to appear in the fifth season finale of "The Brady Bunch", because he felt its script was unacceptable. He was fired from the series, and the production team considered replacing him with a new actor for the series' sixth season. However, the fifth season turned out to be the final one, with network ABC deciding to cancel the series.
While "The Brady Bunch" was still ongoing, Reed had the recurring role of Lt. Adam Tobias in the detective series "Mannix". He played the role for 22 episodes, running from 1968 to 1975. With the series' cancellation in 1975, Reed was left with no regular roles for the first time since the late 1960s.
Reed's next notable role was that of transgender Dr. Pat Caddison in the two-part episode "The Fourth Sex" (1975) of the medical drama Medical Center". The role was critically well-received, and Reed was nominated for a Primetime Emmy Award, the "Primetime Emmy Award for Outstanding Guest Actor in a Drama Series". The award was instead won by rival actor Ed Asner (1929-).
Reed had a regular role as Teddy Boylan in the dramatic miniseries "Rich Man, Poor Man" (1976), and a prominent guest appearance as Dr. William Reynolds in the miniseries "Roots" (1977). For the first role, Reed was nominated for the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series. The Award was instead won by rival actor Anthony Zerbe (1936-). For the second role, Reed was nominated again for the Primetime Emmy Award for Outstanding Guest Actor in a Drama Series. The award was instead again won by rival actor Ed Asner.
Reed reunited with his friends from the Brady Bunch in the sequel series "The Brady Bunch Hour" (1976-1977), which only lasted for 9 episodes. He next played Mike Brady in the television film "The Brady Girls Get Married" (1981), the television film "A Very Brady Christmas" (1988), and the short-lived sequel series "The Bradys" (1990). The attempts to turn the popular sitcom into a dramatic series were not met with success.
Reed had another lead role in television as Dr. Adam Rose on the medical drama "Nurse" (1981-1982). The series only lasted for 25 episodes. Otherwise, Reed was reduced to mostly playing guest star roles again. His last guest star role appeared in 1992 episode of the crime drama "Jake and the Fatman".
In November 1991, Reed was diagnosed with colon cancer. As his health deteriorated, Reed increasingly isolated himself. He only allowed visits from his daughter Karen Rietz and close friend Anne Haney (1934-2001). In May 1992, he died at Huntington Memorial Hospital in Pasadena, California. He was 59-years-old. He was buried at Memorial Park Cemetery in Skokie, Illinois.
Following his death, his death certificate revealed that Reed was HIV positive. While he was not suffering from AIDS, doctors were unable to determine whether HIV contributed to the deterioration of his health and his eventual death. How and when Reed contracted HIV remains unknown. Reed had managed to avoid having information about his personal life leaking to the press during his career, and also avoided sharing details about it even with his friends.
Reed is still fondly remembered for his television work, while his theatrical career has largely faded from memory.--The Brady Bunch--
--Star!--
--Rich Man, Poor Man--
--The Boy In The Plastic Bubble--- Writer
- Director
- Actor
Above all, Rainer Werner Fassbinder was a rebel whose life and art was marked by gross contradiction. Openly homosexual, he married twice; one of his wives acted in his films and the other served as his editor. Accused variously by detractors of being anticommunist, male chauvinist, antiSemitic and even antigay, he completed 44 projects between 1966 and 1982, the majority of which can be characterized as highly intelligent social melodramas. His prodigious output was matched by a wild, self-destructive libertinage that earned him a reputation as the enfant terrible of the New German Cinema (as well as its central figure.) Known for his trademark leather jacket and grungy appearance, Fassbinder cruised the bar scene by night, looking for sex and drugs, yet he maintained a flawless work ethic by day. Actors and actresses recount disturbing stories of his brutality toward them, yet his pictures demonstrate his deep sensitivity to social misfits and his hatred of institutionalized violence. Some find his cinema needlessly controversial and avant-garde; others accuse him of surrendering to the Hollywood ethos. It is best said that he drew forth strong emotional reactions from all he encountered, both in his personal and professional lives, and this provocative nature can be experienced posthumously through reviewing his artistic legacy.
Fassbinder was born into a bourgeois Bavarian family in 1945. His father was a doctor and his mother a translator. In order to have time for her work, his mother frequently sent him the movies, a practice that gave birth to his obsession with the medium. Later in life, he would claim that he saw a film nearly every day and sometimes as many as three or four. At the age of 15, Fassbinder defiantly declared his homosexuality, soon after which he left school and took a job. He studied theater in the mid-sixties at the Fridl-Leonhard Studio in Munich and joined the Action Theater (aka, Anti-Theater) in 1967. Unlike the other major auteurs of the New German Cinema (e.g., Schlöndorff, Herzog and Wenders) who started out making movies, Fassbinder acquired an extensive stage background that is evident throughout his work. Additionally, he learned how to handle all phases of production, from writing and acting to direction and theater management. This versatility later surfaced in his films where, in addition to some of the aforementioned responsibilities, Fassbinder served as composer, production designer, cinematographer, producer and editor. [So boundless was his energy, in fact, that he appeared in 30 projects of other directors.] In his theater years, he also developed a repertory company that included his mother, two of his wives and various male and female lovers. Coupled with his ability to serve in nearly any crew capacity, this gave him the ability to produce his films quickly and on extremely low budgets.
Success was not immediate for Fassbinder. His first feature length film, a gangster movie called Love Is Colder Than Death (1969) was greeted by catcalls at the Berlin Film Festival. His next piece, Katzelmacher (1969), was a minor critical success, garnering five prizes after its debut at Mannheim. It featured Jorgos, an emigrant from Greece, who encounters violent xenophobic slackers in moving into an all-German neighborhood. This kind of social criticism, featuring alienated characters unable to escape the forces of oppression, is a constant throughout Fassbinder's diverse oeuvre. In subsequent years, he made such controversial films about human savagery such as Pioneers in Ingolstadt (1971) and Whity (1971) before scoring his first domestic commercial success with The Merchant of Four Seasons (1972). This moving portrait of a street vendor crushed by the betrayal and his own futility is considered a masterpiece, as is his first international success Ali: Fear Eats the Soul (1974) (Fear Eats the Soul). With a wider audience for his efforts, however, some critics contend that Fassbinder began to sell out with big budget projects such as Despair (1978), Lili Marleen (1981) and Lola (1981). In retrospect, however, it seems that the added fame simply enabled Fassbinder to explore various kinds of filmmaking, including such "private" works as In a Year with 13 Moons (1978) and The Third Generation (1979), two films about individual experience and feelings. His greatest success came with The Marriage of Maria Braun (1979) (The Marriage of Maria Braun), chronicling the rise and fall of a German woman in the wake of World War II. Other notable movies include The Bitter Tears of Petra von Kant (1972), Fox and His Friends (1975), Satan's Brew (1976) and Querelle (1982), all focused on gay and lesbian themes and frequently with a strongly pornographic edge.
His death is a perfect picture of the man and his legend. On the night of June 10, 1982, Fassbinder took an overdose of cocaine and sleeping pills. When he was found, the unfinished script for a version of Rosa Luxemburg was lying next to him. So boundless was his drive and creativity that, throughout his downward spiral and even in the moment of his death, Fassbinder never ceased to be productive.--Fox And His Friends--
--Beware A Holy Whore--
--Haytabo--
--Shadows Of Angles--- Actor
- Make-Up Department
- Additional Crew
Divine's former best friend, with dyed silver hair, met the future Waters star in beauty school in Baltimore, Maryland. Divine later claimed that he had "never even heard the word 'drag' before David," and that Lochary did his makeup and wigs at parties (prior to Van Smith). Divine introduced Lochary to Waters in the mid-1960s, and he quickly became one of Waters' "Dreamlanders," first appearing in his 8mm underground film Roman Candles (1966). Lochary usually played exotically-dressed, sophisticated perverts who threatened, and lost to, Divine. Lochary moved to New York after the release of Pink Flamingos (1972) to do theater, but returned to Baltimore for Female Trouble (1974), after which he drifted away from the Dreamlanders. He allegedly died by bleeding to death in his New York apartment after falling on a glass while on PCP, shortly after the release of Waters' first film without him and Divine, Desperate Living (1977).--Pink Flamingos--
--Female Trouble--
--Eat Your Makeup--
--Multiple Maniacs--
--Mondo Trasho--- Actor
- Music Department
- Soundtrack
Most remembered for his extravagant costumes and trademark candelabra placed on the lids of his flashy pianos, Liberace was loved by his audiences for his music talent and unique showmanship. He was born as Wladziu Valentino Liberace on May 16, 1919, into a musical family, in Wisconsin. His mother, Frances Liberace (née Zuchowski), whose parents were Polish, played the piano. His father, Salvatore Liberace, an immigrant from Formia, Italy, played the French horn for the Milwaukee Symphony. His siblings, George Liberace, Angie Liberace and Rudy Liberace, also had musical ability. Liberace's own extraordinary natural talent became evident when he learned to play the piano, by ear, at the age of four. Although Salvatore tried to discourage his son's interest in the piano, praises from Ignacy Jan Paderewski, a famous Polish pianist, helped the young musician follow his musical career.
As a teenager, Liberace earned wages playing popular tunes at movie theaters and speakeasies. Despite being proud of his son's accomplishments, Salvatore strictly opposed Liberace's preference for popular music over the classics. Pianist Florence Bettray Kelly took control of Liberace's classical training when he was 14.
He debuted as a soloist with the Chicago Symphony, under the direction of Dr. Frederick Stock. At age 17, Liberace joined the Works Progress Administration Symphony Orchestra. He received a scholarship to attend the Wisconsin College of Music. In 1939, after a classical recital, Liberace's audience requested the popular tune, "Three Little Fishes". Liberace seized the opportunity and performed the tune with a semi-classical style which the audience loved. Soon, this unique style of playing the piano got Liberace bookings in large nightclubs.
By 1940, Liberace was traveling with his custom-made piano, on top of which he would place his candelabrum. He then took Paderewski's advice and dropped Wladziu and Valentino to become simply Liberace. South Sea Sinner (1950), a movie with Shelley Winters, was Liberace's film debut. He played a honky tonk pianist in the movie, which opened in 1950.
In 1952, The Liberace Show (1952), a syndicated television program, turned Liberace into a musical symbol. It began as a summertime replacement for The Dinah Shore Show (1951), but after two years, the show was one of the most popular on TV. It was carried by 217 American stations and could be seen in 20 foreign countries. Sold-out live appearances at Madison Square Garden enhanced the pianist's popularity even more. Soon, Liberace added flamboyant costumes and expensive ornaments to his already unique performances. His second movie, Sincerely Yours (1955), opened in 1955, and Liberace wrote his best-selling autobiography, "Liberace", in 1972. His first book, "Liberace Cooks", went into seven printings.
In 1977, Liberace founded the non-profit "Liberace Foundation for the Performing and Creative Arts". The year 1978 brought the opening of "The Liberace Museum" in Las Vegas, Nevada, which serves as key funding for the Liberace Foundation. The profits from the museum provide scholarship money for financially needy college musicians. He continued performing until the fall of 1986, despite suffering from heart disease and emphysema during most of the 1980s. A closeted homosexual his entire life, Liberace was secretly diagnosed with AIDS sometime in August 1985, which he also kept secret from the public until the day he died. His last concert performance was at Radio City Music Hall on November 2, 1986. He passed away in his Palm Springs home on February 4, 1987 at age 67.
Liberace was bestowed with many awards during his lifetime including: Instrumentalist of the Year, Best Dressed Entertainer, Entertainer of the Year, two Emmy Awards, six gold albums, and two stars on the Hollywood Walk of Fame. In The Guinness Book of World Records, he has been listed as the world's highest paid musician and pianist. Liberace was an extremely talented and versatile man. He not only played the piano, but sang, danced and joked during his performances. In fact, one of Liberace's biggest accomplishments was his ability to turn a recital into a show full of music, glitter and personality.--The Loved One--
--Batman (TV Series)--
--South Sea Sinner--
--Sincerely Yours--- Actor
- Writer
- Stunts
Edward Montgomery Clift (nicknamed 'Monty' his entire life) was born on October 17, 1920 in Omaha, Nebraska, just after his twin sister Roberta (1920-2014) and eighteen months after his brother Brooks Clift. He was the son of Ethel "Sunny" Anderson (Fogg; 1888-1988) and William Brooks Clift (1886-1964). His father made a lot of money in banking but was quite poor during the depression. His mother was born out of wedlock and spent much of her life and the family fortune finding her illustrious southern lineage and raising her children as aristocrats.
At age 13, Monty appeared on Broadway ("Fly Away Home"), and chose to remain in the New York theater for over ten years before finally succumbing to Hollywood. He gained excellent theatrical notices and soon piqued the interests of numerous lovelorn actresses; their advances met with awkward conflict. While working in New York in the early 1940s, he met wealthy former Broadway star Libby Holman. She developed an intense decade-plus obsession over the young actor, even financing an experimental play, "Mexican Mural" for him. It was ironic his relationship with the bisexual middle-aged Holman would be the principal (and likely the last) heterosexual relationship of his life and only cause him further anguish over his sexuality. She would wield considerable influence over the early part of his film career, advising him in decisions to decline lead roles in Sunset Blvd. (1950), (originally written specifically for him; the story perhaps hitting a little too close to home) and High Noon (1952).
His long apprenticeship on stage made him a thoroughly accomplished actor, notable for the intensity with which he researched and approached his roles. By the early 1950s he was exclusively homosexual, though he continued to hide his homosexuality and maintained a number of close friendships with theater women (heavily promoted by studio publicists).
His film debut was Red River (1948) with John Wayne quickly followed by his early personal success The Search (1948) (Oscar nominations for this, A Place in the Sun (1951), From Here to Eternity (1953) and Judgment at Nuremberg (1961)). By 1950, he was troubled with allergies and colitis (the U.S. Army had rejected him for military service in World War II for chronic diarrhea) and, along with pill problems, he was alcoholic. He spent a great deal of time and money on psychiatry.
In 1956, during filming of Raintree County (1957), he ran his Chevrolet into a tree after leaving a party at Elizabeth Taylor's; it was she who saved him from choking by pulling out two teeth lodged in his throat. His smashed face was rebuilt, he reconciled with his estranged father, but he continued bedeviled by dependency on drugs and his unrelenting guilt over his homosexuality.
With his Hollywood career in an irreversible slide despite giving an occasional riveting performance, such as in Stanley Kramer's Judgment at Nuremberg (1961), Monty returned to New York and tried to slowly develop a somewhat more sensible lifestyle in his brownstone row house on East 61st Street in Manhattan. He was set to play in Taylor's Reflections in a Golden Eye (1967), when he died in the early morning hours of July 23, 1966, at his home at age 45. His body was found by his live-in personal secretary/companion Lorenzo James, who found Clift lying nude on top of his bed, dead from what the autopsy called "occlusive coronary artery disease." Clift's last 10 years prior to his death from his 1956 car accident were called the "longest suicide in history" by famed acting teacher Robert Lewis.--A Place In The Sun--
--The Misfits--
--Raintree County--
--Suddenly Last Summer--- Music Department
- Script and Continuity Department
- Actor
Rod McKuen was born on 29 April 1933 in Oakland, California, USA. He was an actor, known for Zodiac (2007), The Prime of Miss Jean Brodie (1969) and Better Off Dead (1985). He died on 29 January 2015 in Beverly Hills, Los Angeles, California, USA.--Summer Love--
--Rock, Pretty Baby--
--Wild Heritage--
--The Boneyard Collection--- Actor
- Writer
- Producer
William G. Scott was born in 1952 in Bessemer, Alabama. He attended Birmingham-Southern College for two years. He lived in New York City prior to moving to Hollywood in the late 1970s.
Changing his name to Glenn Shadix, he made his film debut in the poorly received The Postman Always Rings Twice (1981), later winning a breakthrough role in Tim Burton's Beetlejuice (1988) as Otho, the pretentious and treacherous interior designer who dangerously dabbles in the paranormal. Tim Burton went on to cast Shadix as the voice of the Mayor of Halloween Town in The Nightmare Before Christmas (1993), and Senator Nado in Planet of the Apes (2001).
Notable television credits include NBC's Seinfeld (1989), and HBO's Carnivàle (2003). On September 7, 2010, Shadix accidentally fell at his condominium in Birmingham, Alabama, and died of blunt trauma to his head. He had already had mobility problems and was wheelchair-bound. Shadix was survived by his mother, sister and brother-in-law.--Beetle Juice--
--Heathers--
--Sleepwalkers--
--Red Dirt--- Born Leeds, England and trained at Old Vic Theatre School, 1947-1949. First stage appearance in "Tough at the Top" (C.B. Cochran's last musical) in 1949, followed by seasons at the Shakespeare Memorial Theatre, Stratford-upon-Avon; Glasgow Citizen's and Birmingham Repertory Theatre. First in London's West End in "The Happy Time" (1952) and more recently in "Worzel Gummidge", "A Month of Sundays", "Maria" and "Unfinished Business". Overseas: played Caesar in "Caesar and Cleopatra" (International Festival, Paris, 1956); Ravinia Shakespeare Festival (Chicago, 1964); Pickering in "My Fair Lady" (Houston, 1991). In 1998 he was nominated as "Best Actor" for the Royal Midland Television Awards for his role as Alby James in an episode of Peak Practice (1993).--Casino Royale--
--A Night To Remember--
--Dr. Who--
--Ladies In Laverder-- - Being born and raised in Edinburgh, Charleson attended the Royal High School and then went on to attend Edinburgh University. He initially studied architecture but switched to an MA degree after cultivating an interest in acting. He won a place at the London Academy of Music and Dramatic Art after graduating from Edinburgh.--Chariots Of Fire--
--Jubilee--
--Opera--
--Greystoke: The Legend Of Tarzan, Lord Of The Jungle-- - Robert La Tourneaux was born on 22 November 1941 in St. Louis, Missouri, USA. He was an actor, known for The Boys in the Band (1970), Von Richthofen and Brown (1971) and The Doctors (1963). He died on 3 June 1986 in New York City, New York, USA.--The Boys In The Band--
--Van Richthofen And Brown--
--Pilgrimage-- - Actor
- Editor
- Director
Taylor Mead was born on 31 December 1924 in Grosse Pointe, Michigan, USA. He was an actor and editor, known for Coffee and Cigarettes (2003), Midnight Cowboy (1969) and Tarzan and Jane Regained... Sort of (1964). He died on 8 May 2013 in Denver, Colorado, USA.--Lonesome Cowboys--
--Union City--
--Last Supper--
--Coffee And Cigarettes--- Actor
- Soundtrack
Grandiose Irish stage, film and television character player Max Adrian, a noted classical performer and musical comedy revue star with a highly distinctive voice and "old school" acting style, was born Guy Thornton Bor on November 1, 1903, in Kilkenny, County Kilkenny, Ireland. The son of Edward Norman Cavendish Bor and wife Mabel Lloyd Thornton, Max studied at the Portora Royal School and showed early interest in the performing arts. An intermission singer/dancer at a silent film theatre, he made his stage debut in the chorus in 1925 and proceeded to gain experience on the West End.
Following extensive repertory experience, Adrian (who was occasionally billed as Max Cavendish) enjoyed his first transcontinental stage hit with "First Episode", which toured throughout England and later transferred to Broadway in 1934. He went on to find wide personal success with his roles in "Troilus and Cressida" and "The Doctor's Dilemma" toward the end of the decade. Joining the Old Vic company in 1939, he scored as "The Dauphin" in "Saint Joan", then continued supremely with John Gielgud's company at the Haymarket Theatre in the mid-1940s as "Puck" in "A Midsummer Night's Dream", "Osric" in "Hamlet" and "Tattle" in "Love for Love".
A founding member of both the Royal Shakespeare Company and, much later, Laurence Olivier's National Theatre, Adrian earned widespread admiration for his work on the lighter side as a singer/comedian on the post-WWII musical revue stage. Many were produced by his long-time companion Laurier Lister (1907-1986). He also later performed eloquently, if outrageously, in one-man shows about George Bernard Shaw and the lesser successful "Gilbert and Sullivan".
Following his revue success, the often-bespectacled actor traveled to America in 1956 to appear in Leonard Bernstein's operetta, "Candide", on Broadway. Adrian stayed and pursued a career working in such summer stock productions of "Pygmalion" as Alfred as Doolittle, "Le Bourgeois Gentilhomme" as "Jourdain", "The Merchant of Venice" as "Shylock", and "The School for Scandal" as "Sir Peter Teazle", but never established a strong footing. He returned to London in 1959 to appear in Noël Coward "Look After Lulu!", which later was taken to Broadway.
In the early 1960s, Adrian became a member of Peter Hall's nascent Royal Shakespeare Company (RSC) in Stratford-upon-Avon, wherein he appeared in "As You Like It", "Twelfth Night" and "Troilus and Cressida", as well as the non-Bard productions of "The Duchess of Malfi", "The Devils" and "The Hollow Crown". He also was a founding member of Olivier's National Theatre Company at the Old Vic from 1963, wherein he supported Peter O'Toole "Hamlet" as "Polonius". He also went on to appear in "Saint Joan", "Uncle Vanya", "The Recruiting Officer" and "The Master Builder".
Less renowned for his work on film, Adrian's made his debut in 1934 with two films: The Primrose Path (1934) and Eight Cylinder Love (1934). Film highlights during this earlier period came with his roles in the historical pieces The Remarkable Mr. Kipps (1941) and Courageous Mr. Penn (1942) and as "The Dauphin" in Olivier's classical masterpiece, Henry V (1944) (aka Henry V). Post-war films included lesser parts in The Taming of Dorothy (1950), Pool of London (1951) and The Pickwick Papers (1952). In later years, he showed some minor flash in Dr. Terror's House of Horrors (1965) and The Deadly Affair (1967), and capped his cinematic career as a favorite actor of visionary director Ken Russell and his mesmerizingly bizarre films The Music Lovers (1971), The Boy Friend (1971) and The Devils (1971). He fared much better on TV with several Shakespearean and other classical roles, notably as a delightful "Fagin" in "Oliver Twist", impressive Benjamin Disraeli in "Victoria Regina", and as composer "Fredrick Delius" in "Song of Summer".
Dying of a heart attack in 1973, the prolific stage actor, survived by his partner, was paid tribute by such luminaries as Laurence Olivier, Alec Guinness and revue co-star Joyce Grenfell.The Boyfriend--
--The Devils--
--Dr. Terrors House Of Horrors--
--The Music Lovers--- Actor
- Art Director
- Production Designer
Born in Staunton, Virginia, William Haines ran off to live life on his own terms while still in his teens, moving to New York City and becoming friends with such later Hollywood luminaries as designer Orry-Kelly and Cary Grant. His film career started slowly, but by the end of the silent era he was regularly named as the #1 male box-office draw. He also became fast friends with a number of contemporaries, such as Joan Crawford and Marion Davies, whose fame would eclipse his. His career faded rapidly in the early 1930s, and he was finally released allegedly due to a fight with MGM mogul Louis B. Mayer over Haines' refusal to end his relationship with his lover, Jimmie Shields. However, as his film career ended, his interior design career blossomed, resulting in major work for Jack L. Warner and the Bloomingdales, and culminating in the refurbishing of the American ambassador's residence in London, England. Although Haines was quite open about his homosexuality and entertained many of Hollywood's gay set - including George Cukor and Clifton Webb - his story is missing from many histories of the era. Haines and Shields remained a couple for 50 years; Crawford called them "the happiest married couple in Hollywood."--A Slave For Fashion--
--Fighting The Flames--
--The Thrill Hunter--
--Way Out West--- Actor
- Soundtrack
Kenneth Nelson was born on 24 March 1930 in Rocky Mount, North Carolina, USA. He was an actor, known for Hellraiser (1987), The Boys in the Band (1970) and Nightbreed (1990). He died on 7 October 1993 in London, England, UK.--The Boys In The Band--
--Hellraiser--
--The Brute--
--The Lonely Lady--- Actor
- Additional Crew
Calvin Culver, better known by his adult film name Casey Donovan, was born November 2, 1943 in East Bloomfield, New York. He graduated from teachers' college in 1965 and worked as a teacher in Peekskill and New York City. When he was fired from his teaching job after an altercation with a student, he began working as an escort and tried to establish an acting career. Through one of his clients Culver began a modeling career and appeared in off-Broadway and Broadway productions.
He began his adult film career in 1971 in the film Ginger. He next appeared in Casey, playing the title role. From that film and the singer Donovan Culver created his screen name. Also in 1971 Culver appeared in the film that would make him famous, Boys in the Sand (1971). The first adult film to achieve mainstream crossover success, Boys led to talk of Culver's moving into "legitimate" film work. It also allowed Culver to build a lucrative career as a high-priced escort, although his growing fame in the adult film world cost him his modeling career as more and more potential employers connected him to "Casey Donovan".
Culver appeared in the Broadway revival of Captain Brassbound's Conversion with Ingrid Bergman in 1972 and the 1973 Lincoln Center production of The Merchant of Venice. He toured nationally in the play Tubstrip and in 1984 produced and appeared in an unsuccessful revival of the play The Ritz.
In 1973 Culver began a relationship with the actor Tom Tryon. They were together until 1977. In 1978 Culver bought a guest house in Florida but the business failed. In 1982 he began writing an advice column, "Ask Casey", for "Stallion," a gay male magazine featuring nude pictorials. Culver's health began to deteriorate in 1985, and he died of an AIDS-related illness on August 10, 1987 in Inverness, Florida.AKA Casey Donovan
--Score--
--Gal Young Un--
--Fun And Games--
--Ginger--- John Megna was born on 9 November 1952 in Queens, New York, USA. He was an actor, known for To Kill a Mockingbird (1962), The Cannonball Run (1981) and Police Woman (1974). He died on 5 September 1995 in Los Angeles, California, USA.--To Kill a Mockingbird--
--Hush...Hush, Sweet Charlotte--
--The Boy In The Plastic Bubble--
--Star Trek: Miri - Actor
- Soundtrack
Joseph Maher was born on 29 December 1933 in Westport, County Mayo, Ireland. He was an actor, known for In & Out (1997), I.Q. (1994) and Heaven Can Wait (1978). He died on 17 July 1998 in Los Angeles, California, USA.--For Pete's Sake--
--It Aint Easy--
--Heaven Can Wait--
--Those Lips, Those Eyes--- Actor
- Director
- Writer
Paul Bartel was born in Brooklyn in 1938. He decided he wanted to direct animated movies when he was 11 and by 13 had spent a summer working at New York's UPA animation studio. He majored in theater arts at UCLA, and received a Fulbright scholarship to study film direction in Rome, producing a short that was presented at the 1962 Venice Fiom Festival. He later was hired by Roger Corman's brother, Gene, to direct a low-budget horror featured called Private Parts (1972). Roger Corman hired him as a second unit director on Big Bad Mama (1974), which led to his directing Death Race 2000 (1975). He could not persuade Corman to finance his pet project, Eating Raoul (1982). The $500,000 black comedy was made after his parents sold their New Jersey home and gave him the money. Shot in 22 days, mostly weekends, over the course of a year, Eating Raoul (1982) starred Bartel and Mary Woronov as gourmet cannibals who lure sex swingers to their apartment, smack them with a skillet, rob them and use the proceeds to buy a restaurant.--Eating Raoul--
--Rock 'n Roll High School--
--Heart Like A Wheel--
--Billy's Hollywood Screen Kiss--- Writer
- Actor
Gore Vidal was born Eugene Louis Vidal in 1925 in West Point, New York, to Nina (Gore) and West Point aeronautics instructor and aviation pioneer Eugene Luther Vidal. The Vidals endured a rocky marriage divorcing ten years after Gore's birth. Young Gore spent much of his childhood with his blind grandfather, Senator T.P. Gore of Oklahoma. Vidal would later become the confidant of Jacqueline Kennedy when Jackie's mother married his former stepfather, Hugh D. Auchincloss. After graduating from Phillips Exeter Academy in 1943, Gore joined the US Army Reserves. Some of his Army experiences inspired his first novel, Williwaw, which was published when he was just 19. He dedicated the novel to J.T., a deceased prep-school friend. Subsequent novels would prominently feature gay male characters, and Gore found soon found his books had staying power on bestseller lists. In 1960, he unsuccessfully ran for Congress, backed by celebrity supporters like Paul Newman & Vidal's ex-fiancé Joanne Woodward. Another unsuccessful foray into politics would occur in 1982 when he ran for governor of California. In addition to being an accomplished writer, he is also a novice actor. His biggest roles to date have been in Gattaca (1997), Bob Roberts (1992), and With Honors (1994).--Bob Roberts--
--Gattaca--
--Shadow Conspiracy--
--Igby Goes Down--- Actor
- Additional Crew
- Soundtrack
German-born Henry Brandon was a character actor in American films, most often seen in villainous roles. His parents emigrated to the US shortly after his birth. His early interest in acting led him to study at the acclaimed Pasadena Community Playhouse. He landed the lead villain role in the Stan Laurel and Oliver Hardy film March of the Wooden Soldiers (1934), and rapidly became a familiar and reliable heavy in pictures both large and small. In 1936 he adopted the stage name Henry Brandon after several years of being billed as either Henry or Harry Kleinbach. He captivated thriller audiences as the sinister Dr. Fu Manchu in Drums of Fu Manchu (1943), yet balanced things by playing a sizable number of sympathetic roles as well, such as the skilled foreman Joe Dombrowski in Black Legion (1937). He continued to work on stage throughout his film career, playing the villain for many years in the record-length run of the melodrama "The Drunkard". His sharp features led him rather incongruously to be cast as Indian chiefs in two John Ford features, The Searchers (1956) and Two Rode Together (1961). He kept busy in films and occasional television roles, as well as reprising his role in "The Drunkard" onstage in the 1980s, until the end of his life. Brandon was a confirmed bachelor.--War Of The Worlds--
--The Searchers--
--Assault On Precinct 13--
--Silent Fear--- Actor
- Soundtrack
Most certainly egged on by the dandified antics of an Edward Everett Horton, Eric Blore and/or Franklin Pangborn, burlesque clown Billy DeWolfe in turn gave obvious inspiration to such effeminate cutups as Paul Lynde and Charles Nelson Reilly. Billy's life was one hundred percent show business from start to finish in a career that lasted five decades, and it took everything, including the proverbial vaudeville hook, to get the delightful ham off the stage he craved and loved so well.
Christened William Andrew Jones, he was the son of a Welsh-born immigrant and bookbinder. Born in Massachusetts, the family returned to Wales almost immediately and did not come back to the States until Billy was nine years old. He began his career in the theater as an usher until he found work as a dancer with a band. He subsequently took his name from a theater manager, William De Wolfe, who actually offered him his name. Billy developed his own comedy-dance act and originally played the vaudeville circuit as part of a duo or trio. In London for five years, he eventually went solo and was given the chance to play the London Palladium at one point. He returned to America in 1939 and enjoyed notice as a prime radio and nightclub performer-impressionist, appearing in satirical revues, sometimes in drag, with great results.
Billy enlisted in the U.S. Navy in 1942 shortly after completing his first movie role as a riverboat conman in Dixie (1943) for Paramount. In civilian clothes again by war's end, he returned to Paramount and brought hyper comedy relief to a number of films including Miss Susie Slagle's (1946), Our Hearts Were Growing Up (1946), and The Perils of Pauline (1947). He then instigated what would become his suitor prototype. With trademark mustache and spiffy duds, he assumed the role of the highly ineffectual, fastidious, self-involved bore who loses the girl, in Dear Ruth (1947), one of his biggest film triumphs, which was followed by two "Dear..." movie sequels. Old-fashioned musicals were definitely his cup of tea and he was easily fit into such nostalgic fare as Tea for Two (1950) and Lullaby of Broadway (1951). One of his other film highlights includes getting snitty with bombastic Ethel Merman in Call Me Madam (1953).
Irrepressible and definitely hard to contain for film (not to mention difficult to cast due to his mincing mannerisms), Billy focused instead on the live stage. He won the 1954 Donaldson Award for the NY production of "John Murray Anderson's Almanac," returned to London in command performances, and revisited Broadway in the last edition of "The Ziegfeld Follies" in 1957. Better yet was his pompous performance in the musical "How to Succeed in Business Without Really Trying" On TV he was a mildly popular raconteur on the talk show circuit. Fussy second-banana series roles took up his final decade of acting with such comedy series showcasing the likes of Imogene Coca, Phyllis Diller and Doris Day, who became a very close friend.
A lifelong hypochondriac, Billy was about to take on the role of Madam Lucy in a 1973 Broadway revival of "Irene" when the ravages of lung cancer forced him to leave the show before rehearsals even began. Character player George S. Irving replaced Billy and went on to win a supporting-actor Tony for his wild efforts. Billy lost his fight at age 67 in 1974.--The Doris Day Show--
--Billie--
--Lullaby Of Broadway--
--Call Me Madam--- Actor
- Soundtrack
Leonard Frey originally wanted to become an artist, but in college he became interested in acting. He made his stage debut in an off-Broadway production of "Little Mary Sunshine" and his film debut as a celebrant in Passages from James Joyce's Finnegans Wake (1966), but he first rose to prominence in the role of Harold, the self-proclaimed "Jew fairy", in both the stage and screen versions of The Boys in the Band (1970). Frey is probably best known for the role of Motel, the timid tailor, in Fiddler on the Roof (1971); this performance landed him a nomination for a Supporting Actor Oscar. He continued to work on stage, in films and on TV throughout the 1970s and 1980s, but he never again attained the level of critical success he enjoyed in "Fiddler on the Roof". In 1988 he died from complications related to AIDS.--The Boys In The Band--
--Fiddler On The Roof--
--Tell Me That You Love Me Junie Moon--
--Tattoo--- Actor
- Writer
- Soundtrack
At 14, Ron Palillo (born Ronald Gabriel Paolillo) started his own summer theater in Cheshire, Connecticut. His parents, Gabriel and Carmel Paolillo, were surprised when the summer theater actually made money. After graduating from high school, Ron went to the University of Connecticut at Storrs, where he majored in drama. He appeared in many school plays in college. After graduation, Ron got a job with a touring company which performed in Shakespearean plays. He claimed to have received invaluable drama training during that tour, acting in Shakespearean masterpieces like "Macbeth", "The Taming of the Shrew" and "A Midsummer Night's Dream".
After his Shakespearean tour, Ron became a member of a repertory company in Miami, Florida. Shortly after arriving in New York, Ron got a role in the off-Broadway success "Hot l Baltimore." He stayed with the show for over a year. Because of his work in "Hot L Baltimore". Ron was given a lead role in a musical special, "The Last Sweet Days of Isaac", on television. After Isaac, he once again went on tour and appeared with Mickey Rooney in "A Midsummer Night's Dream" and with Jan Sterling in a serious play, "Summer Brave". He has two brothers and a sister. His elder brother, Richard Paolillo, is an eye surgeon, his brother Robert Paolillo, is a salesman and his sister Ann, became a teacher.--Welcome Back Kotter--
--Skate Town U.S.A.--
--Hellgate--
--Jason Lives: Friday The 13th Part VI--- Attractive, dark-featured character actor with a voice like thunder, and eyes like a wolf, who was featured in less than sympathetic roles throughout his career. Born and raised in Milwaukee, Wisconsin, Albert Paul Shenar attended the University of Wisconsin. Soon after graduation, he relocated to New York City, where he quickly landed roles on the stage. These experiences led to a Broadway debut in 'Tiny Alice' as 'Brother Julian.' After a few satiating years on and off Broadway, Paul found himself again relocating, this time to Philadelphia. It was here where he made a considerable contribution to the arts. Along with fellow actors Rene Auberjonois and Bill Ball, to name a few, he co-founded the American Conservatory Theater, where he was not only a regular performer until the day he died, but a teacher and advisor as well. From there, roles on television, and the big screen followed. Shenar made a splash, portraying Orson Welles in The Night That Panicked America (1975). He received some of the best reviews of his career for this famous television film. Soon after he received more for his portrayal of another famous celebrity, as Florenz Ziegfeld in Ziegfeld: The Man and His Women (1978). He continued working steadily on television, even appearing in shot-for-television replacement footage for the disaster film, Two-Minute Warning (1976). And then feature films came calling. Shenar turned in credible and memorable performances in film, such as the diabolical Bolivian drug lord Alejandro Sosa, in Brian De Palma's Scarface (1983) (1983), and most notably, voicing the evil conspiring rat, "Jenner", in Don Bluth's The Secret of NIMH (1982). Other roles of note include Dr. Lawrence in Luc Besson's The Big Blue (1988), Joshua Adams in Deadly Force (1983), Paulo Rocca in the action packed Arnold Schwarzenegger film, Raw Deal (1986), and Ben Gardner, the father of a troubled Kristy McNichol, in Alan J. Pakula's Dream Lover (1986), respectively. Though not a household name in his time, his candor, energy, and aesthetic performances have left a long lasting impression, that only gets better with age, and will not soon be forgotten.--Scarface--
--Deadly Force--
--Dream Lover--
--The Big Blue-- - Actor
- Soundtrack
Already trained in dance and theater, he quit school at age 13 to study music and painting. By 19 he was a professional ballroom dancer in New York, and by his mid-twenties he was performing in musicals, dramas on Broadway and in London, and in silent movies. His first real success in film came in middle age as the classy villain Waldo Lydecker in Laura (1944), followed by the part of Elliott Templeton in The Razor's Edge (1946) - both of which won him Oscar nominations. His priggish Mr. Belvedere in a series of films was supposedly not far removed from his fastidious, finicky, fussy, abrasive and condescending real-life persona. He was inseparable from his overbearing mother Maybelle, with whom he lived until her death at 91, six years before his own death. The recent success of Titanic (1997) created brief interest due his having appeared with Barbara Stanwyck in the 1953 version of the story. He is interred at Abbey of the Psalms, Hollywood Memorial Cemetery (now known as Hollywood Forever).--Laura--
--Cheaper By The Dozen--
--Titanic--
--Three Coins In A Fountain--- Actor
- Writer
- Additional Crew
Comic eccentric and gifted raconteur Victor Spinetti was born in Wales on September 2, 1929, the son of Giuseppe Spinetti and Lily (Watson) Spinetti. Educated at Monmouth School, he was initially interested in a teaching degree but turned to acting instead and studied for the stage at the College of Music and Drama in the capital city of Cardiff.
A familiar stage presence in London's West End, his roles included "Expresso Bongo" with Paul Scofield and Leonard Bernstein's "Candide". He also spent six years with Joan Littlewood's Theatre Workshop. Becoming noticed in some of his more important theater pieces such as "The Hostage," "Fings Ain't Wot They Used T'be," "Henry IV, Parts I & II" and "Every Man in His Humour," Victor's triumphant West End performance in the musical "Oh! What a Lovely War" led to the Broadway stage and both "supporting actor" Tony and Theatre World awards.
In the late 1960s, Victor co-starred in "The Odd Couple" with Jack Klugman when it toured London. A noted performer with the Royal Shakespeare Company, he proved equally adept in theatre musicals, providing delicious villainy as Fagin in "Oliver!" and Captain Hook in "Peter Pan". A theatre director of both legit and musical plays as well, Victor's one man show "A Very Private Diary" played all over the world. At age 70+, Victor remained active under the theatre lights playing Baron Bomburst in the musical version of "Chitty Chitty Bang Bang" in 2003, and Baron Zeta in the operetta "The Merry Widow" in 2004.
Making his film debut with an uncredited bit in the British Behind the Mask (1958), Victor was featured in such films as Sparrows Can't Sing (1963) and The Gentle Terror (1963) before becoming a vital part of the cult "Beatlemania" phenomenon adding to the insanity in three of The Beatles' cinematic vehicles: A Hard Day's Night (1964), Help! (1965) and their hour-long Magical Mystery Tour (1967). While he could be quite dramatic when called upon, it was his comedic character diversions that showed up in such 1960's and 70's films as The Wild Affair (1965), the Burton/Taylor take on The Taming of The Shrew (1967) (as Hortensio), The Biggest Bundle of Them All (1968), Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? (1969), Start the Revolution Without Me (1970), offbeat leads in both the comedy A Promise of Bed (1969) and the crimer Scacco alla mafia (1970), another Taylor/Burton effort Under Milk Wood (1971), Digby: The Biggest Dog in the World (1973), The Little Prince (1974), The Return of the Pink Panther (1975), Meeting Resistance (2007), Voyage of the Damned (1976), Some Like It Cool (1977) and Fiona (1977).
A TV favorite in England, he starred or co-starred in the comedy series Two in Clover (1969) opposite "Carry On" star Sidney James and Take My Wife... (1979). He focused more and more on the small screen into the 1980's with guest spots on such series as "Time of Your Life," "Sweet Sixteen," "Kelly Monteith" and "Bad Boyes," and a third regular TV series role in the comedy An Actor's Life for Me (1991) playing the inept agent of a struggling actor.
An excellent conversationalist and storyteller who briefly extended his talents into writing, Victor's later acting credits included the films Under the Cherry Moon (1986), The Krays (1990) and Julie and the Cadillacs (1999), the TV movies Mistral's Daughter (1984), The Attic: The Hiding of Anne Frank (1988) (as Van Daan), The Adventures of Young Indiana Jones: Attack of the Hawkmen (1995) and as a voiceover actor (the animated TV series (SuperTed (1983) and The Further Adventures of SuperTed (1989)).
Last seen in a couple of short films in 2006, Victor died on June 18, 2012, age 82, after being diagnosed with pancreatic cancer the year before. He survived (by 15 years) his longtime partner, actor Graham Curnow, who died in 1997.--The Taming Of The Shrew--
--Start The Revolution Without Me--
--Under Milk Wood--
--The Little Prince--- Actor
- Writer
- Composer
Louis Ginsberg, the moderate Jewish Socialist and his wife Naomi, who was a radical Communist and irrepressible nudist are the parents of Irwin Allen Ginsberg, the poet and man of many other things eg. actor. Poems he written eg. Howl, Six gallery, Sunflower Sutra ... His themes: drugs, against Vietnam War, politics, "beat generation", hippies, buddhism, ... In 1970 he met with a Tibetan guru and he accepted Trungpa Rinpoche as his personal guru. He created a poetry school 'Jack Kerouac School of Disembodied Poetics'. He has remained active, publishing poems, realising musical recordings. He published a book with his own photos.--Chappaqua--
--Renaldo And Clare--
--Herostratus--
--Pull My Daisy--- Actor
- Soundtrack
Dack (given name Norman) and identical twin brother, Dirk Rambo (Orman), were born in sunny California in 1941. Dack's noticeable difference was a mole on his left cheek. Both happened upon an acting career, at age 21, after being discovered by Loretta Young for her TV show, while sitting in a church pew. The sons of Lester and Beatrice Rambo, the brothers also had another brother and sister, Bill and Beverly. Dack's early training began as a student of Vincent Chase and Lee Strasberg, and both boys found employment, following the one-season stint on Loretta's TV show, in 1963. While Dirk found success on episodic-TV (The Virginian (1962), Dragnet 1967 (1967)), Dack went on to a couple of other TV series, including Never Too Young (1965) and The Guns of Will Sonnett (1967). Dirk was tragically killed in 1967, after being struck by a drunken driver. A stunned Dack ventured on, however, and eventually found a secure place for his dark good looks in 70s and 80s glossy drama and secondary action. He played many a calculating lover in both daytime (All My Children (1970), Another World (1964)) and prime-time (Dallas (1978)) soaps, while showing off his athletic skills in such outdoor adventure series as Sword of Justice (1978). Later in his career, he worked up a few action leads in low-budget filming. In 1991, while appearing on Another World (1964), Dack discovered he had contracted AIDS and made a courageous decision to retire in order to focus on awareness of this deadly disease. He was extremely candid as to his bisexuality and advocating safe sex and helping to establish an international data bank for AIDS research. He died of complications in 1994 at age 52.--Dallas (TV Series)
--Guns Of Will Sonnett (TV Series)
--Dirty Sally (TV Series)
--Which Way To The Front--- Writer
- Director
- Actor
Pier Paolo Pasolini achieved fame and notoriety long before he entered the film industry. A published poet at 19, he had already written numerous novels and essays before his first screenplay in 1954. His first film Accattone (1961) was based on his own novel and its violent depiction of the life of a pimp in the slums of Rome caused a sensation. He was arrested in 1962 when his contribution to the portmanteau film Ro.Go.Pa.G. (1963) was considered blasphemous and given a suspended sentence. It might have been expected that his next film, The Gospel According to St. Matthew (1964) (The Gospel According to St. Matthew), which presented the Biblical story in a totally realistic, stripped-down style, would cause a similar fuss but, in fact, it was rapturously acclaimed as one of the few honest portrayals of Christ on screen. Its original Italian title pointedly omitted the Saint in St. Matthew). Pasolini's film career would then alternate distinctly personal and often scandalously erotic adaptations of classic literary texts: Oedipus Rex (1967) (Oedipus Rex); The Decameron (1971); The Canterbury Tales (1972) (The Canterbury Tales); Arabian Nights (1974) (Arabian Nights), with his own more personal projects, expressing his controversial views on Marxism, atheism, fascism and homosexuality, notably Teorema (1968) (Theorem), Pigsty and the notorious Salò, or the 120 Days of Sodom (1975), a relentlessly grim fusion of Benito Mussolini's Fascist Italy with the 'Marquis de Sade' which was banned in Italy and many other countries for several years. Pasolini was murdered in still-mysterious circumstances shortly after completing the film.--The Canterbury Tales--
--Il Gobbo--
--The Decameron--
--S.P.Q.R.--- A veteran of nearly 100 films, Jon Polito is most recognized for his work with The Coen brothers, as well as his many television appearances as a series regular and guest star. Notable motion picture roles include: Millers Crossing, Barton Fink, The Man Who Wasn't There, The Crow, Blankman, and The Freshman with Marlon Brando, and Big Eyes. Directors he has worked with include; Russel Mulcahy, Clint Eastwood, John McNaughton, Tom Hanks, Andrew Bergman, Michael Apted, Ridley Scott, and Tim Burton amongst others. On television, he starred as a series regular on Crime Story, Ohara, Hearts are Wild, The Chronical, and the critically acclaimed Homicide, Life on the Street. Notable guest star roles include the befuddled landlord Sylvio on Seinfeld, his only role as a woman - Rhonda, on The Chris Isaak Show, Gino, brother to Danny Devito's character, Frank, on It's Always Sunny in Philadelphia, and Earl Chambers on Modern Family. He starred on Broadway with Faye Dunaway in The Curse Of An Aching Heart, and with Dustin Hoffman in the 1985 Tony award winning revival of Death Of A Salesman, which he also filmed for CBS. He received the Best Actor OBIE award for Off Broadway theatre in 1980. Other awards include the 2001 TELLY for animation voice over in The Dancing Pumpkin which was directed by his brother Jack Polito, The New York Independent Festival Award for Excellence in Acting, and the 2005 Cinequest Maverick Award for his lifetime body of work in Film and Television. In 2012 Jon received the Best Actor Award for the short film Anti-Muse from the Hollywood Reel Independent Film Festival. He credits his success to three people; his mentor Dominic Garvey, his only acting teacher Irene Baird, and to the late, great director, and friend, Paul Bettis. In addition, his inspiration to this day is New York theatre artist, Theodora Skipitares, who taught him film and design in university, and who has since never been far away from his life. She is 'Art' surviving.--Miller's Crossing--
--The Crow--
--Crime Story--
--The Gangster Chronicles-- - Additional Crew
- Actor
- Director
He was an ethnic Tatar. He was educated at the Leningrad Ballet School and starred with Kirov Ballet. His first film was a USSR short Le Corsaire (1958). While performing in Paris in 1961 he defected to the West. He then performed internationally, becoming an Austrian citizen in 1982. The English/French documentary I Am a Dancer (1972), directed by Pierre Jourdan featured him and his long-time partner Margot Fonteyn. He played Rudolph Valentino in the film Valentino (1977) and Daniel Jelline in Exposed (1983), his last film. In 1982, he starred in the US stage revival of "The King and I".--Valentino--
--Exposed--
--Nijinsky: Unfinished Project--
--Coup de Foudre--- Actor
- Director
- Writer
Ramon Novarro was born José Ramón Gil Samaniego on February 6, 1899 in Durango, Mexico, to Leonor (Gavilan) and Dr. Mariano N. Samaniego Siqueiros, a prosperous dentist. Ramon and his family moved to Los Angeles in 1913, as refugees from the Mexican Revolution. After stints as a ballet dancer, piano teacher and singing waiter, he became a film extra in 1917. For five years he remained an extra until director Rex Ingram cast him as Rupert in The Prisoner of Zenda (1922). He was cast with Lewis Stone and Ingram's wife, Alice Terry (Ingram was also the person who suggested that he change his name to Novarro). He worked with Ingram in his next four films and was again teamed with Terry in the successful Scaramouche (1923). Novarro's rising popularity among female moviegoers resulted in his being billed as the "New Valentino". In 1925 he appeared in his most famous role, as the title character in Ben-Hur: A Tale of the Christ (1925), and later co-starred with Norma Shearer in The Student Prince in Old Heidelberg (1927). His first talking picture was Call of the Flesh (1930), where he sang and danced the tango. He continued to appear in musicals, but his popularity was slipping. He starred with Greta Garbo in the successful Mata Hari (1931), but his career began to fade fast. In 1935 he left MGM and appeared on Broadway in a show that quickly flopped. His later career, when he was able to find work in films, consisted mostly of cameos. On October 30th, 1968, Ramon Novarro was savagely beaten in his North Hollywood home by two young hustlers. They had heard - in error - that he had thousands of dollars locked away somewhere in his home. They never found any money, and Ramon was discovered dead the next day by his servant.--Ben-Hur: A Tale Of The Christ (1925)--
--Mata Hari--
--Across to Singapore--
--Heller In Pink Tights--- Actor
- Additional Crew
Jackie's friendship and professional association with Andy Warhol began in the mid-1960s. He appeared in director Paul Morrissey's Women in Revolt (1971) with Candy Darling and Holly Woodlawn and Flesh (1968) with Joe Dallesandro and Candy Darling, presented by Andy Warhol. For these unique films, director Paul Morrissey gave the actors information about their character, the scene and suggested lines. The camera rolled and everyone improvised much of the content in a single take.
Jackie was perhaps happiest on stage. His wild creative energies were unleashed on appreciative audiences at venues including Playhouse of the Ridiculous, La Mama E.T.C., the Poetry Project at St. Marks Church, Bastianos Theater, Pyramid, and many other Manhattan theaters. His talent transcended gender and he reveled in melodramatic female roles.
In 1970, Jackie Curtis auditioned in drag for Busby Berkeley's revival of the 1920s musical "No, No, Nanette" - too bad Busby Berkeley and Broadway weren't ready for Curtis in the chorus line! Jackie's cabaret performances were stunning. In 1973 he appeared at the New York Cultural Center in "Cabaret in the Sky - an Evening with Holly Woodlawn and Jackie Curtis", an event attended by gay New York and "cafe society" alike.
Fortunately, Jackie's singing talents were documented on video in the 1970s and also on recently rediscovered studio recordings of songs from "Vain Victory" - which are to be released on CD in the near future! Jackie Curtis began writing plays in the late 1960s in which he usually appeared as the female lead. "Amerika Cleopatra" ran during the summer of 1968. Jackie's co-stars included Alexis del Lago and Harvey Fierstein, who played "Cleo's Jewish Mother".
'Robert de Niro' made his first appearance on the stage opposite Candy Darling during the first run of "Glamour, Glory, and Gold" in 1967. Jackie's musical "Lucky Wonderful", with music composed by Paul Serrato, was produced in 1968 at the Bastianos Theater. "Heaven Grand in Amber Orbit" was performed by John Vaccaro's Playhouse of the Ridiculous in 1969 and toured internationally for two years. Jackie Curtis' "Vain Victory" was produced at La Mama in 1971. It was an immediate smash hit and ran all summer long to packed houses.
Jackie was a prolific writer and a published poet. Jackie's poetry focuses on his fascination with stardom, glamorous divas, and broken dreams. He was proudest of his inclusion in "The Poets' Encyclopedia" published by the editors of the literary journal "Unmuzzled OX" in 1979. The poem "B-Girls" is the longest work in the 310 page volume (8 pages). It is based upon Jackie's observations of the barroom denizens of "Slugger Ann's", his grandmother's bar. (Jackie lived above the bar with his grandmother for much of his life.)
Jackie died of an accidental heroin overdose on May 15, 1985. He was just 38 years old. At his wake, friends filled his casket with photographs and mementos of his career, packs of Kool cigarettes, a magic wand, a cocktail shaker full of martinis, and sprinkled his face and body with glitter.
Later, after the funeral, friends covered his burial mound with so much red glitter that it was visible in the distance from the highway. Jackie's unique talents and his wonderful friendship and spirit will always be sorely missed by those who had the good fortune to know him.--WR: Mysteries Of The Organism--
--Flesh--
--Women In Revolt--
--Underground U.S.A.--- Actor
- Director
Actor-turned-director Robert Drivas showed dark, brooding power and strong potential on the 60s stage, film and TV but, in the long run, did not achieve the kind of success he deserved. Born on November 21, 1935, the Coral Gables, Florida native initially studied his craft at the Universities of Chicago and Miami. He also trained at the Greek Playhouse in Athens and the Coconut Grove Playhouse in Miami. Making a potent New York debut as Ramses in the play "The Firstborn" (1958) starring Anthony Quayle as Moses and producer Katharine Cornell in the role of Bithiah, Drivas continued to be impressive on stage with "One More River" (1960), "The Wall" (1960), "The Irregular Verb to Love" (1963), "And Things That Go Bump in the Night" (1965) and "Where Has Tommy Flowers Gone?" (1971). In 1963 he won a Theatre World Award for his performance in "Mrs. Dally Has a Lover" alongside another TWA winner Estelle Parsons.
The attention he received on the theater boards eventually led to TV. Drivas showed great intensity and lasting power in episodic guest parts on such 60s crime shows as N.Y.P.D. (1967) and The Defenders (1961), and was a popular and frequent guest on The F.B.I. (1965). He also appeared as a guest star in episodes of Route 66 (1960) and 12 O'Clock High (1964). His first film appearance was long in coming but drew noticeable attention with the featured role of Loudmouth Steve in the classic prison drama, Cool Hand Luke (1967). This auspicious debut led to a couple of "generation gap" movies in which he was bumped up to co-star billing. Sharing the screen with Rod Steiger and Claire Bloom in the controversial LSD-influenced The Illustrated Man (1969), Drivas was intoxicating in his role but the film itself was deemed too "far out" and was considered a failure. Drivas was also quite impressive as the ultra-cool but idealistic son of David Janssen in Where It's At (1969). Again, the film was dismissed and Drivas did not advance. He went on to make only four more movies, all independent and/or foreign-made features and all overlooked.
Drivas turned successfully to stage directing in the 1970s, which included a number of Broadway projects. He gained progressive respect with his directing of such plays as "Bad Habits," for which he won an Obie award, the uproarious farce "The Ritz," "Legend," "Cheaters," "It Had to Be You," which starred the writing husband-and-wife team of Joseph Bologna and Renée Taylor, a revival of the musical "Little Me," and, his last, "Peg" in 1983 a short-lived reenactment of the life of songstress Peggy Lee with lyrics and book by the star herself. A few years later Drivas tragically died of AIDS-related cancer at the age of 50.--Cool Hand Luke--
--The Illustrated Man--
--Road Movie--
--Where It's At--- Actor
- Soundtrack
James Mitchell was an American actor and dancer of English descent. He was one the leading dancers for choreographer Agnes de Mille (1905-1993). As an actor, Mitchell is primarily remembered for his role as diabolical businessman Palmer Cortlandt in the long-running soap opera "All My Children". Mitchell played this role from 1979 to 2010, and Cortlandt was one of the series' major characters until 2002.
In 1920, Mitchell was born in Sacramento, California. His parents were English immigrants who operated a fruit farm in Turlock, an agricultural settlement in Stanislaus County, California. In 1923, his parents separated. His mother returned to England, and took Mitchell's siblings with her. Unable to raise Mitchell on his own, his father entrusted him to the care of vaudevillians Gene and Katherine King. While the senior Mitchell eventually reclaimed custody over his son, Mitchell became interested in a show business career of his own.
Mitchell left Turlock in 1937, in order to seek education as an actor. He studied drama at Los Angeles City College, and was trained in modern dance by famed choreographer Lester Horton (1906-1953). Following his graduation, Mitchell formally joined the Lester Horton Dancers (1932-1944), Horton's own dance company.
In 1944, Horton dissolved his dance company and moved to New York City, taking Mitchell with him. Horton attempted to form a new dance company there for dancer Sonia Shaw, and his main investor was Shaw's husband. The investor reneged on the deal, and Horton's company went bankrupt before its debut performance. Mitchell was left unemployed for the first time in his career.
Mitchell had trouble finding acting or dancing jobs in New York City, where there were many available performers. Mitchell himself had no connections in the city. He eventually applied for a job as a dancer in the musical "Bloomer Girl" (1944), where Agnes de Mille was the choreographer. She asked him to perform ballet moves, unaware that Mitchell had little to no training in ballet. Instead Mitchell performed a dance improvisation. De Mille was sufficiently impressed by his style to offer him the dual position of principal dancer and assistant choreographer in the show. He took the offer.
Mitchell's professional relationship with de Mille lasted from 1944 to 1969. In her autobiography, she praised Mitchell, commenting that he gad "probably the strongest arms in the business, and the adagio style developed by him and his partners has become since a valued addition to ballet vocabulary."
Mitchell remained primarily a theatrical actor in the 1940s, though he appeared as a dancer and uncredited extra in film musicals and westerns. He was eventually offered a contract with Warner Brothers by producer Michael Curtiz (1886-1962). Mitchell only appeared in two Warner Brothers-produced film. His most notable there was playing gangster Duke Harris in the Western "Colorado Territory" (1949).
Mitcell was next signed to a contract with Metro-Goldwyn-Mayer (MGM), where he played supporting roles in films from 1949 to 1955. His film appearances included the film noir "Border Incident" (1949), the Western "Stars in My Crown" (1950), and the musical comedy "The Band Wagon" (1953). His last MGM-produced film was the Biblical epic "The Prodigal" (1955), a notorious box office flop that resulted in losses of 771,000 dollars by the company. Mitchell's contract was terminated shortly afterward.
In 1956, Mitchell gained his first lead role in a film, playing gunfighter Terrall Butler in the Western "The Peacemaker" (1956). It was a low-budget production by independent producer Hal R. Makelim, and the film eventually only had a limited release. It was Mitchell's last film role for decades.
Mitchell was able to find steady work as an actor in television productions. In 1964, he gained the recurring role of corrupt Captain Lloyd Griffin in the soap opera "The Edge of Night" (1956-1975). He eventually gained the lead role of professor of literature Julian Hathaway in another soap opera, "Where the Heart Is" (1969-1973). The series had "fairly healthy ratings" for its entire run, but it was typically the lowest-rated soap on CBS' daytime schedule. It was eventually canceled and replaced by a more successful soap opera, called "The Young and the Restless" (1973-).
For much to the 1970s, Mitchell was reduced to sporadic guest star appearances in television. He financially supported himself as an acting teacher at Juilliard, Yale University, and Drake University. He was eventually offered the new role of businessman Palmer Cortlandt in the soap opera "All My Children", a role he played for 31 years.
By 2008, Mitchell was forced to reduce his television appearances due to health problems. He was suffering from chronic obstructive pulmonary disease, an obstructive lung disease characterized by long-term breathing problems and poor airflow. He formally retired from acting in 2009, but made return appearances in 2010. He died in January 2010, his death caused by his chronic disease and complications by pneumonia. He was 89-years-old.--The Band Wagon--
--The Peacmaker--
--The Turning Point--
--All My Children--- Actor
- Additional Crew
- Soundtrack
Born on May 24, 1962, in Harlem. Attended Julia Richmond High School, where he performed in a dance class, and later auditioned for Louis Falco, the choreographer for the film Fame (1980). Actually attended New York's High School of the Performing Arts for a year, before being kicked out. He was, therefore, perfectly cast as Leroy in the film, which won Academy Awards for best song and original score. Like his character in the film, Ray had never had professional dance training but had an abundance of raw talent. In 1982, he toured Britain to perform with other Fame (1980) cast members in 10 concerts. The Kids from Fame in Concert (1983), a television special about the tour, was broadcast in the United States a year later.--Fame--
--Fame (TV Series)--
--Out-Of-Sync--
--Eddie--- Actor
- Writer
- Producer
Born in Hartford, Connecticut, Tom Tryon -- son of clothier Arthur Lane Tryon and not, as was commonly believed -- actor Glenn Tryon -- grew up in Wethersfield, Connecticut. In 1943, he enlisted in the U.S. Navy at age 17 and spent three years as a radio specialist in the South Pacific. After his discharge, he joined the Cape Playhouse in Dennis, Massachusetts. He served as set painter/designer, assistant stage manager, and, later, encouraged, by Gertrude Lawrence and her husband, Richard Aldrich, who managed the theatre, he became an actor. He also graduated from Yale University, with a BFA degree. He made his Broadway debut in 1952 in the musical "Wish You Were Here". He worked in television as a production assistant.
In 1955, he moved to California to try his hand at the movies, and the next year made his film debut in The Scarlet Hour (1956). He made a few more films, but in 1958 he appeared in the part that made him most famous: the title role in the Disney TV series, "Texas John Slaughter" (1958), which made him a household name. He appeared with Marilyn Monroe in her final (and unfinished) film, Something's Got to Give (1962).
Sci-fi fans will remember Tryon in what is now considered one of the more literate (although you couldn't tell by its crackpot title) sci-fi films of the era, I Married a Monster from Outer Space (1958). Tryon worked steadily in television and films during this period. His big break was supposed to be Otto Preminger's The Cardinal (1963), but the film was a flop. His acting career was waning (he wasn't happy with it, anyway), and one day he saw the horror film Rosemary's Baby (1968) in a theater.
It inspired him to write his own horror novel, and, in 1971, ''The Other'' was published and became a best-seller. It was made into a successful movie of the same name The Other (1972)), with Tryon writing and producing. He left acting completely for writing, and became a very successful novelist. In 1978, his book, ''Crowned Heads'', was the basis for the Billy Wilder film, Fedora (1978), and a successful miniseries, The Dark Secret of Harvest Home (1978), with Bette Davis, was made from his novel, ''Harvest Home''. Tryon said that he got much more satisfaction (and made a lot more money) from his writing than he ever did from acting. He died of cancer in 1991, aged 65.--The Cardinal--
--I Married A Monster From Outer Space--
--In Harms Way--
--Three Violent People--- Born Leeds, England and trained at Old Vic Theatre School, 1947-1949. First stage appearance in "Tough at the Top" (C.B. Cochran's last musical) in 1949, followed by seasons at the Shakespeare Memorial Theatre, Stratford-upon-Avon; Glasgow Citizen's and Birmingham Repertory Theatre. First in London's West End in "The Happy Time" (1952) and more recently in "Worzel Gummidge", "A Month of Sundays", "Maria" and "Unfinished Business". Overseas: played Caesar in "Caesar and Cleopatra" (International Festival, Paris, 1956); Ravinia Shakespeare Festival (Chicago, 1964); Pickering in "My Fair Lady" (Houston, 1991). In 1998 he was nominated as "Best Actor" for the Royal Midland Television Awards for his role as Alby James in an episode of Peak Practice (1993).--A Night To Remember--
--Casino Royale--
--Catweazle--
--Tales From The Crypt:1972-- - Actor
- Additional Crew
- Soundtrack
Tucker Smith was born on 24 April 1936 in Philadelphia, Pennsylvania, USA. He was an actor, known for West Side Story (1961), The Producers (1967) and At Long Last Love (1975). He died on 22 December 1988 in Los Angeles, California, USA.--West Side Story--
--Hearts Of The West--
--To Be Or Not To Be--
--At Long Last Love--- Thomas McAdam Beck was an actor during the mid to late 1930s, who first attracted attention playing romantic leads in the film series of Charlie Chan and Mr. Moto, during the years he was under contract at Fox Film and later 20th Century-Fox. Born in New York City, on December 28, 1909, he grew up in the Forest Park section of Baltimore, Maryland. Beck was so good looking by the time he was a teenager that it is said that girls used to literally swoon when he'd go down the hallway at Forest Park High, where he graduated in 1928. He entered John Hopkins University where he studied science and had intentions of becoming a doctor. At the time he also studied piano at Peabody Conservatory of Music and painting at the Maryland Institute of Fine Arts, and appeared in many plays with a Baltimore theater group created by Henry Fonda. Beck finally studied engineering, but after graduating in 1932, he believed engineering jobs would be scarce during the Depression, so he turned to acting. His first professional stage appearances were with a Massachusetts theater company, but by October 1932 he was cast in his first Broadway play, "Mademoiselle". His work interested film executives, when he got noticed in 1934 as Pauline Frederick's brother in John Charles Brownell's play "Her Majesty the Widow" and was signed by Fox Films. A year later when Fox and 20th Century Pictures merged, Beck was lost in the change and saw all the major roles go to Don Ameche, Henry Fonda, Richard Greene, and Tyrone Power, although the tall and handsome young man was noticed whenever he appeared on the screen. Beck was featured in 28 films in his career, with notable roles in "Charlie Chan in Paris" (1935), "Charlie Chan in Egypt" (1935), "Charlie Chan at the Race Track" (1936), and "Charlie Chan at the Opera" (1936). He also worked with Will Rogers in George Marshall's "Life Begins at Forty" (1935), in which he played the spoiled son of a landowner; appeared as a French legionnaire in Frank Lloyd's "Under Two Flags" (1936), and as Pastor Schultz, the village priest, in Allan Dwan's "Heidi" (1937), opposite child superstar Shirley Temple. He was seen to good advantage in two 1936 Fox motion pictures, in which he had leading roles: as a pilot in Peter Lorre's first American film, the espionage thriller "Crack-Up" and as a rich socialite in the drama "Champagne Charlie". When his career seemed ready to take off, Fox refused to raise his wages for a third time, and Beck left the studio in 1939. He had never been a favorite of top executives, and he never played the games of studio politics, but one could also suspect other causes behind his dismissal, as Beck's open homosexuality and his work to promote the Screen Actors Guild to improve working conditions for actors, in those years of ideological persecution by major studios, actors and producers. Beck free-lanced for Republic Studios and Universal, but left motion pictures in 1939. After appearing on the stage in "Delicate Story" in 1940, Beck then served in the Army in the Pacific theatre during World War II, finishing as a major in 1945. After the war, he briefly returned to the theatre in New York City, appearing in 1946 with Blanche Yurka in "Temper the Wind", and then retired from acting. He worked in advertising for 17 years and then operated a real estate office in Connecticut with his longtime companion (and former advertising colleague) until they retired to Florida. In a late interview Beck confessed that he had enjoyed his work on stage more than in films, and that his only regret was not leaving Hollywood, but never working in his chosen profession, as an engineer. He also painted and wrote poetry, publishing in 1990 his book of poems «Astride the Wind», written before, during and after World War II. He died on September 23, 1995 in Miami Shores, Florida, of Alzheimer's disease and heart ailments. He is buried along with the rest of his family at Loudon Park Cemetery in Baltimore.--Heidi--
--Seventh Heaven--
--Thank You Mr. Moto--
--Charlie Chan In Egypt-- - Actor
- Writer
- Soundtrack
Alan Sues was born on 7 March 1926 in Ross, California, USA. He was an actor and writer, known for Rowan & Martin's Laugh-In (1967), The Americanization of Emily (1964) and The Twilight Zone (1959). He was married to Phyllis Gehrig. He died on 1 December 2011 in West Hollywood, California, USA.--Rowan And Martins Laugh-In--
--Oh Heavenly Dog--
--Snowballing--
--Beanes Of Boston--- Howard E. Rollins Jr. was born in Baltimore, Maryland in 1950. He was the youngest of four children born to Howard E. Rollins Sr. (steelworker) and Ruth R. Rollins (domestic worker). Rollins graduated from Towson State College, where he studied theater. His first break into acting came when a friend convinced him to try out for a role in "Of Mice and Men" at a local Baltimore theater. He surprised himself with his acting talent.
He left for New York City in 1974 to further his acting career. Rollins earned an Oscar nomination for the role of Coalhouse Walker Jr. in Ragtime (1981) and an Emmy nomination for Best Supporting Actor on the NBC daytime drama Another World (1964). He is also known for his brilliant portrayal of Virgil Tibbs on the long running hit TV series In the Heat of the Night (1988), based on the 1967 movie of the same name. In 1995, he made his final feature film appearance in Drunks (1995).
Rollins was diagnosed with lymphoma in late 1996. Six weeks later, he died of complications from the disease at the age of 46.--In The Heat Of The Night (TV Series)
--On The Block--
--A Soldiers Story--
--Ragtime-- - Virile-looking, hairy-chested actor Anthony George is best remembered for a couple of popular TV crime series back in the early 1960s. Born Octavio George in Endicott, New York, he began in small roles in motion pictures and TV in the 1950s. Picked up by 20th Century-Fox he was sometimes billed as Tony George or Ott George in such "B" movies as You Never Can Tell (1951), Three Bad Sisters (1956), Chicago Confidential (1957) and Gunfire at Indian Gap (1957). More often than not, however, he appeared uncredited and his dark, swarthy features usually had him typed as minor heavies (convicts, thugs, mobsters, etc.). The fast pace and expectations of making movies proved too much for the actor, however, and he suffered a nervous breakdown during one such filming. Traveling back East to recover, TV ended up being a more adaptable medium. He finally hit pay dirt in 1960 when he was cast as a tough-talking good guy, agent Cam Allison, alongside Robert Stack's Eliot Ness in The Untouchables (1959). He abruptly left that series to head up his own cast as investigator Don Corey in the detective drama Checkmate (1960). The show lasted two seasons and made him a familiar face, if not a household name. Following this peak, he became a steadfast presence in daytime soaps with regular roles on Dark Shadows (1966), Search for Tomorrow (1951) and One Life to Live (1968). On occasion he would appear on stage and in 1966 had a chance to play Nicky Arnstein in "Funny Girl" at Los Angeles' Ahmanson Theatre opposite singing comedienne and impressionist Marilyn Michaels, who was known for her dead-on impersonation of Barbra Streisand. Other productions would include "The Front Page," "Winterset," "Come Blow Your Horn" and "Cactus Flower." A voice-over actor in commercials as well, Anthony George died of complications from lung disease in Los Angeles, California on March 16, 2005.--Dark Shadows--
--One Life To Live--
--Checkmate--
--The Untouchables--