Hypothetical 1975 SAG Awards Memoriam
Those actors and actresses who could have been included in a hypothetical memoriam for a hypothetical 1975 SAG Awards
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Hardie Albright's parents had a traveling vaudeville act, in which he made his stage debut at the age of six. He studied drama at Carnegie Tech and was a member of Eva Le Gallienne's repertory theater. He appeared in many Broadway plays before making his film debut in 1931. Appearing in over 50 films, Albright retired from acting in 1948 and took a position as a drama instructor at UCLA, where he authored several books on acting and directing.- Actor
- Soundtrack
He was home on the Hollywood range only a few years but Bob "Tumbleweed" Baker (ne Stanley Leland Weed) still made his mark by the time he rode off into the sunset. Born on November 8, 1910, in Forest City, IA, his family eventually moved to Colorado and then to Arizona during his growing years. He enlisted in the Army when he was 18 and earned the nickname "Tumbleweed" while also learning how to play the guitar. He later served during WWII and the Korea War.
Baker made an initial name for himself on radio. A chance audition for Universal Pictures, which was on the lookout to groom a new singing cowboy star after the meteoric success of Gene Autry, was his big break, beating out such other sagebrush hopefuls as Roy Rogers.
Baker's first film, Courage of the West (1937), was a success and the new singing cowboy stud-in-town ventured on with such solid white-hatted vehicles as The Singing Outlaw (1937), The Last Stand (1938) and The Phantom Stage (1939). Astride his horse Apache, he made nine oaters in 1938 and was ranked 10th in the "Top Ten Moneymaking Western Star" poll of 1939. That same year, however, Universal decided to form a movie trio partnering Baker with Johnny Mack Brown and Fuzzy Knight. Brown was clearly the star of the series, however, and Baker's career started to tumble. By 1942 he had gotten lost in the dust and was appearing in unbilled parts. One of his final roles was that of a bus driver in the Bud Abbott and Lou Costello comedy Ride 'Em Cowboy (1942). Claiming his career had been fatally mishandled by Universal, Baker left Hollywood and would return on a very rare occasion as a stuntman.
The former western star returned to his home in Arizona with wife Evelyn (since 1935) and four children and worked for a spell as a policeman. Quite the handyman, he also owned a saddle shop where he made and sold saddles and assorted leather goods. During his last years, Baker was in extremely poor health brought on by a series of heart attacks. He suffered a fatal stroke at age 64 while battling cancer.- Actor
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Ben Blue was a movie and TV comedian born on September 12, 1901, in Montréal, Québec, Canada. Emigrating to the US, he became a dance instructor and dance school owner, as well as a nightclub proprietor. He began his film career in short subjects for Warner Brothers in 1926, and later worked at the Hal Roach Studios, Paramount and MGM. He also, like his The Big Broadcast of 1938 (1938) co-star Bob Hope, was a radio comedian. In 1950 he had his own TV series, The Ben Blue Show (1950), and was a regular on The Frank Sinatra Show (1950).
In 1951 Blue began concentrating on managing and appearing in the nightclubs he owned in Hollywood and San Francisco. He made the cover of "TV Guide"'s June 11, 1954, Special Issue along with Alan Young, headlining an edition featuring that season's summer replacement shows. He made a handful of appearances on Ed Sullivan's The Ed Sullivan Show (1948) variety series in 1956 and 1957, and appeared sporadically on other shows, including The Jack Benny Program (1950) in 1960.
In 1958 he shot a pilot for a proposed CBS series, "Ben Blue's Brothers," but it was not picked up, although the pilot was later shown in 1965. Coming out of his self-imposed near-retirement with a bit part in Stanley Kramer's It's a Mad Mad Mad Mad World (1963), Blue began making cameo appearances in movie comedies. He also had a regular role on Jerry Van Dyke's short-lived TV series Accidental Family (1967). He made his last appearance on film in the Doris Day comedy Where Were You When the Lights Went Out? (1968) and his last TV appearance on Land of the Giants (1968) in 1969.
He died in 1975, and his career papers covering the years 1935 to 1955 were deposited in the Special Collections at the UCLA Library.- Actor
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Genial, dark-haired, often bespectacled Ivan Lawrence Blieden (pronounced Blee-den), better known as actor Larry Blyden, was born in Houston, Texas, the son of a lawyer. He developed an early interest in acting, appearing in various theater productions as a teen but never entertained the notion of pursuing a career. Following a stint with the Marine Corps, however, he went to college at the University of Houston and supplemented his income with a job as a local radio announcer, finding himself highly proficient at foreign accents.
Bitten by the acting bug, he decided to give performing a serious try this time, first training at London's Royal Academy of Arts, then moving to New York. It was Broadway that subsequently gave Larry marquee value, contributing strongly to a string of successes. These included not only such staple comedies as "Mr. Roberts", "Oh Men! Oh Women!" and "Absurd Person Singular", but the musicals "Flower Drum Song" (Tony nomination), "The Apple Tree" and "A Funny Thing Happened On the Way to the Forum", the last earning him the Tony award in 1972.
From the early 1950s throughout the decade, Larry was a valuable presence in TV anthologies ("The Silver Theatre," "The Philco Television Playhouse," "The Goodyear Playhouse," "Armstrong Circle Theatre," "Playhouse 90," "The Alcoa Hour," "Play of the Week") but, as his career progressed, he also found a comfortable niche in breezy comedy, landing a couple of sitcoms Joe & Mabel (1956) (as Joe) and Harry's Girls (1963) (as Harry), short-lived as they were. Into the 1960's he appeared on such programs as "Thriller," "The Loretta Young Show," "The Twilight Zone," "Adventures in Paradise," "The United States Steel Hour," "Route 66," "Dr. Kildare," "Alfred Hitchcock Presents," "12 O'CLock High," "The Fugitive" and "The Man from U.N.C.L.E."
Larry projected a very temperate, clean-cut, albeit bland image. As a result, film roles were scarce - three to be exact: Kiss Them for Me (1957) starring Cary Grant and Jayne Mansfield, The Bachelor Party (1957) with Don Murray and Carolyn Jones, and Barbra Streisand's On a Clear Day You Can See Forever (1970).
Larry was a noted game show enthusiast and was seen frequently as a panelist on Password (1961) and To Tell the Truth (1969), among many others. In 1972, he became a familiar daytime face after replacing Wally Bruner as host of the syndicated What's My Line? (1968).
Larry married Bob Fosse dancer/extraordinaire Carol Haney in 1955. They remained a popular Gotham couple until their split seven years later. Haney, who was pure electric in the Broadway and film versions of "The Pajama Game", was a severe diabetic and died suddenly at age 39 in 1964, two years after their divorce. This left Blyden a single parent with two children to raise. He never remarried. His last performances on TV included guest parts on "The Mod Squad," "Medical Center" and "Cannon."
Blyden himself died fairly young as well, killed in a car accident while traveling in Morocco. He was only 49. Highly personable and modestly unassuming, Larry Blyden may not have hit the heights, but he was a recognizable name and a durable talent - one of Broadway's bright lights for over two decades.- Actor
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His full name was Joseph Alexander Caesar Herstall Vincent Calleja - but he was better known as Joseph or Joe Calleia, one of Hollywood's most recognized bad guys. But Calleia's roots and talents ran much deeper than character actor. He was Maltese, born on that barren but historically important island of Malta between Italy and Africa in the Mediterranean. The Maltese culture was a crossroads of peoples (partially Arabic) but as intrepid fisherman, navigators, and warriors-as they proved to the 16th century Turks - it was a proud one. But it could not hold Calleia, who, blessed with a good singing voice and a talent for composing, joined a harmonica band that left for the Continent in 1914. This was a Europe feeling the initial blows of World War I, and Calleia's band toured the length and breadth of it in music halls and cafes. He went to Paris and eventually came to London to perform some concert singing engagements. And from there the lure of the New World brought him to New York by 1926.
It was a natural enough transition for a talented singing performer to acting. Calleia did his first play on Broadway in an original drama suitably called "Broadway" for a long run from late 1926 early 1928. This was the first of seven plays he did into early 1935. He took a double role as actor and stage manager for the 1930-31 run of "Grand Hotel". He received good reviews (once called him a "bright light" on Broadway) and later recalled that his treading the boards were his best years as an actor. By 1931 he had yet another course to steer. Hollywood had noticed him, for his constrained intensity as an actor was matched by a singular visage - heavy-lidded eyes and dark features that gave him a disquieting and menacing appearance. Yet the sometime telltale lilt in his voice betrayed the fine singer. He had just enough accent to make him Latin or Greek or Middle Eastern - or indigenous sorts. Of course, his look meant early heavy roles as he went under contract to MGM, doing his first two films in that year of 1931.
By 1935 his looks landed him the role of Sonny Black, a mob boss with many facets, and with a characteristic clenched-teeth delivery, Calleia acquitted himself in fine fashion. Through the 1930s he was pretty much typed-cast as a mobster-with variations. Always with the lean and hungry look, he was a club owner in After the Thin Man (1936) and played a government cop in the atmospheric Algiers (1938). He even had time to help write a screenplay for the film Robin Hood of El Dorado (1936) with veteran Warner Baxter. Calleia ended the decade with roles at opposite ends of the character acting spectrum-somewhat center stage as a priest in the sometimes heavy-handed Full Confession (1939) and most memorable as Vasquez, the brought-to-justice criminal on the ill-fated DC-3 that crash lands in headhunter-infested Amazon highlands in Five Came Back (1939). This is a classic adventure drama -- remade with Rod Steiger -- with a great supporting cast that included everyone's favorite wisecracking redhead, Lucille Ball.
Into the 1940s, Calleia was cast in more ethnic roles - particularly as Hispanics of various sorts. But his roles were memorable nonetheless, as El Sordo in For Whom the Bell Tolls (1943) and Rodriguez in The Cross of Lorraine (1943). But two roles stand out. His Buldeo in the Alexander Korda classic production of The Jungle Book (1942) was a personal favorite, a double role, as trouble-making villager and the selfsame man now old and wise telling the story to the village children as narrator. The makeup is so good-and Calleia enjoyed character makeup-that most viewers are surprised when the old man reveals his identity. More mainstream Hollywood was his intriguing role as Detective Obregon in Gilda (1946). He's the good guy-right? - but he comes off so sly with his sidelong looks and the way he bates the principals - Glenn Ford and Rita Hayworth - that you just don't know. In the end he has the task, like the chorus in a Shakespearean play, to explain and summarize-perhaps not the best means of getting to the point - but that was the director's choice. His secondary parts receded a bit into the later 1940s and further into the 1950s with Calleia typed to retrace former roles but giving them new nuance just the same. He has little more than a cameo as Indian chief Cuyloga-Native American chiefs being the lot of no few elder actors in 1950s Hollywood - in the otherwise worthwhile Disney adaptation of The Light in the Forest (1958). Calleia ventured into the TV briefly about that time.
But also from that year was another of his favorite roles. Without doubt Touch of Evil (1958) is one of the strangest of Orson Welles later efforts as director/star. It borders on the uneven but is so off-the-wall that one cannot help watching and thoroughly enjoying all the antics of Welles still brilliant film techniques: shadow and light, wild camera angles, gringos playing Mexicans-Charlton Heston is a wow and stained darker than necessary-and over-the-top performances with veteran dramatis personae like Marlene Dietrich, Akim Tamiroff, Calleia, of course, and Welles himself looking like a police captain from skid row and using that funny character voice of his that pops up in his films as an aside. Calleia, with white hair, is tired old cop Sergeant Menzies, long associate of Welles' seedy character. Doing what he has always done, covering up and running interference, in the end Menzies has to face the truth about his crooked captain. Calleia enjoyed the role as going so against his usual type - showing a man harried by his past and haunted by dirty secrets - vulnerable - and very human. It's a great part.
By 1963 Calleia walked away - or, that is - sailed away from Hollywood. He returned to his native Malta for a well deserved retirement. The Maltese had followed the career of their native son, and he had made several visits during his film career. Not surprisingly his biggest fan club was right at home. He was a kind and generous man and very appreciative of his fans wherever they were - quick to read all their letters and quick to send autographed pictures. It was strictly tongue-in-cheek when he supposedly quipped: "Everyone recognizes my face, but no one knows my name." After his passing, the government of the island state of Malta issued two commemorative stamps (1997) to honor him. A bust was erected before the house in which he was born as a further memorial to this Maltese VIP who had made good.- Actor
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Richard Conte was born Nicholas Richard Conte on March 24, 1910, in Jersey City, New Jersey, the son of an Italian-American barber. He held a variety of jobs before becoming a professional actor, including truck driver, Wall Street clerk and singing waiter at a Connecticut resort. The gig as a singing waiter led to theatrical work in New York, where in 1935, he was discovered by actors Elia Kazan and Julius "Julie" Garfinkle (later known as John Garfield).
Kazan helped Conte obtain a scholarship to study acting at the Neighborhood Playhouse, where he excelled. Conte made his Broadway debut late in "Moon Over Mulberry Street" in 1939, and went on to be featured in other plays, including "Walk Into My Parlor." His stage work lead to a movie job, and he made his film debut in Heaven with a Barbed Wire Fence (1939), in which he was billed as "Nicholas Conte." His career started to thrive during the Second World War, when many Hollywood actors were away in the military.
Signing on as a contract player with 20th Century-Fox in 1942, Conte was promoted by the studio as, ironically, as "New John Garfield," the man who helped discover him. He made his debut at Fox, under the name "Richard Conte", in Guadalcanal Diary (1943). During World War II Conte appeared mostly as soldiers in war pictures, although after the war he became a fixture in the studio's "film noir" crime melodramas. His best role at Fox was as the wrongly imprisoned man exonerated by James Stewart's reporter in Call Northside 777 (1948) and he also shined as a trucker in Thieves' Highway (1949).
In the 1950s Conte essentially evolved into a B-movie actor, his best performances coming in The Blue Gardenia (1953) and Highway Dragnet (1954). After being set free of his Fox contract in the early 1950s, his career lost momentum as the film noir cycle exhausted itself, although he turned in a first-rate performance as a vicious but philosophical gangster in Joseph H. Lewis film-noir classic, The Big Combo (1955).
Conte appeared often on television, including a co-starring gig on the syndicated series The Four Just Men (1959), but by the 1960s his career was in turnaround. Frank Sinatra cast him in his two Tony Rome detective films, the eponymous Tony Rome (1967) and Lady in Cement (1968), but Conte eventually relocated to Europe. He directed and starred in Operation Cross Eagles (1968), a low-budget war picture shot in Yugoslavia. His last hurrah in Hollywood role was as Don Corleone's rival, Don Barzini, in The Godfather (1972), which many critics and filmmakers, including the late Stanley Kubrick, consider the greatest Hollywood film of all time. Ironically, Paramount - which produced "The Godfather" - had considered Conte for the title role before the casting list was whittled down to Laurence Olivier and Marlon Brando. After The Godfather (1972), Conte - whose character was assassinated in that picture, so does not appear in the equally classic sequel - continued to appear in European films.
Richard Conte was married to Ruth Storey, with whom he fathered film editor Mark Conte. He died of a heart attack on April 15, 1975, in Los Angeles, California, aged 65.- Actor
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Larry began performing as a violinist at a young age. During his teenage years, he earned his living as a singer and boxer. At 18, Larry began working vaudeville with "The Haney Sisters and Fine" and in 1925, he joined Ted Healy and Moe Howard in the act that would eventually become The Three Stooges. Fine made more than 200 films before a stroke forced him to retire in 1970.- Lilian Fontaine was born on 11 June 1886 in Reading, Berkshire, England, UK. She was an actress, known for The Lost Weekend (1945), Ivy (1947) and The Locket (1946). She was married to George Milan Fontaine and Walter Augustus de Havilland. She died on 20 February 1975 in Santa Barbara, California, USA.
- Richard Gaines was born on 23 July 1904 in Oklahoma City, Oklahoma, USA. He was an actor, known for Double Indemnity (1944), Ace in the Hole (1951) and The More the Merrier (1943). He was married to Brenda Marshall. He died on 20 July 1975 in North Hollywood, Los Angeles, California, USA.
- Jane Griffiths was born on 16 October 1929 in Peacehaven, Sussex, England, UK. She was an actress, known for Man with a Million (1954), Softly Softly (1966) and The Accursed (1957). She was married to Gerhard Heinz Herman Nell. She died on 11 June 1975 in London, England, UK.
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Susan Hayward was born Edythe Marrener in Brooklyn, New York, on June 30, 1917. Her father was a transportation worker, and Susan lived a fairly comfortable life as a child, but the precocious little redhead had no idea of the life that awaited her. She attended public school in Brooklyn, where she graduated from a commercial high school that was intended to give students a marketable skill. She had planned on becoming a secretary, but her plans changed. She started doing some modeling work for photographers in the NYC area. By 1937, her beauty in full bloom, she went to Hollywood when the nationwide search was on for someone to play the role of Scarlett O'Hara in Margaret Mitchell's Gone with the Wind (1939). Although she--along with several hundred other aspiring Scarletts--lost out to Vivien Leigh, Susan was to carve her own signature in Hollywood circles. In 1937 she got a bit part in Hollywood Hotel (1937). The bit parts continued all through 1938, with Susan playing, among other things, a coed, a telephone operator and an aspiring actress. She wasn't happy with these bit parts, but she also realized she had to "pay her dues". In 1939 she finally landed a part with substance, playing Isobel Rivers in the hit action film Beau Geste (1939). In 1941 she played Millie Perkins in the offbeat thriller Among the Living (1941). This quirky little film showed Hollywood Susan's considerable dramatic qualities for the first time. She then played a Southern belle in Cecil B. DeMille's Reap the Wild Wind (1942), one of the director's bigger successes, and once again showed her mettle as an actress. Following that movie she starred with Paulette Goddard and Fred MacMurray in The Forest Rangers (1942), playing tough gal Tana Mason. Although such films as Jack London (1943), And Now Tomorrow (1944) and Deadline at Dawn (1946) continued to showcase her talent, she still hadn't gotten the meaty role she craved. In 1947, however, she did, and received the first of five Academy Award nominations, this one for her portrayal of Angelica Evans in Smash-Up: The Story of a Woman (1947). She played the part to the hilt and many thought she would take home the Oscar, but she lost out to Loretta Young for The Farmer's Daughter (1947). In 1949 Susan was nominated again for My Foolish Heart (1949) and again was up against stiff competition, but once more her hopes were dashed when Olivia de Havilland won for The Heiress (1949). Now, however, with two Oscar nominations under her belt, Susan was a force to be reckoned with. Good scripts finally started to come her way and she chose carefully because she wanted to appear in good quality productions. Her caution paid off, as she garnered yet a third nomination in 1953 for With a Song in My Heart (1952). Later that year she starred as Rachel Donaldson Robards Jackson in The President's Lady (1953). She was superb as Andrew Jackson's embittered wife, who dies before he was able to take office as President of the United States. After her fourth Academy Award nomination for I'll Cry Tomorrow (1955), Susan began to wonder if she would ever take home the coveted gold statue. She didn't have much longer to wait, though. In 1958 she gave the performance of her lifetime as real-life California killer Barbara Graham in I Want to Live! (1958), who was convicted of murder and sentenced to death in the gas chamber. Susan was absolutely riveting in her portrayal of the doomed woman. Many film buffs consider it to be one of the finest performances of all time, and this time she was not only nominated for Best Actress, but won. After that role she appeared in about one movie a year. In 1972 she made her last theatrical film, The Revengers (1972). She had been diagnosed with cancer, and the disease finally claimed her life on March 14, 1975, in Hollywood. She was 57.- Actor
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Moe Howard, the "Boss Stooge" and brother of Stooges Curly Howard and Shemp Howard, began his acting career in 1909 by playing bit roles in silent Vitagraph films. At 17 he joined a troupe working on a showboat and also appeared in several two-reel comedy shorts. In 1922 he, brother Shemp and Larry Fine joined roughhouse vaudeville comic Ted Healy, forming the act that would become The Three Stooges. Howard toured vaudeville and appeared in films with Healy for ten years before the Stooges left to pursue a separate career. Moe appeared in more than 250 films during his 66-year career, including 190 Three Stooges shorts. Over the act's 50-year history, the Stooges went through several personnel changes; when Moe died, the act ended.- Actor
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Menacing looking Italian American actor who developed into the quintessential on-screen hoodlum via several strong roles in key crime films of the early 1970s. Lettieri played the villain against some of Hollywood's biggest screen names including chasing Steve McQueen in The Getaway (1972), intimidating Charles Bronson in Mr. Majestyk (1974), threatening 'John Wayne' in McQ (1974) and, arguably in his most well known role, as Virgil "The Turk" Sollozo trying to eliminate Marlon Brando in The Godfather (1972).
He was already 36 years old when he made his on screen debut in The Hanged Man (1964), and remarkably several years later was associate producer on the disturbing kidnapping drama The Night of the Following Day (1969) starring Marlon Brando. He really hit his strides in the early 1970s starring in many high profile films, before unfortunately succumbing to a heart attack at just 47 years of age. One of the most convincing "heavies" of modern cinema.- Actor
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The athletic William Lundigan stood 6' 2" and weighed 170 pounds. He played football, basketball and tennis at Syracuse (NY) University. He was discovered by Charles R. Rogers, head of production at Universal Studios. Rogers happened to tune into radio station WFBL in Syracuse. He was so intrigued by a voice he heard reading a commercial that he gave instructions for the speaker to be located, brought to New York and tested for movie possibilities. The speaker, of course, was Lundigan. He had gotten the announcing job because his father owned the building that housed WBFL. Later in his career Lundigan was successful as the host of the CBS programs Climax! (1954) and Shower of Stars (1954). For these programs he delivered on-air commercials for their sponsor, Chrysler Motors. Off screen he traveled as a goodwill ambassador for the company, covering over 100,000 miles on the road and visiting 560,000 people in 90 weeks.- Actress
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Her father was a minister, and when she joined a local stock company as a youngster she changed her name to avoid embarrassing her family. She worked in vaudeville and debuted on Broadway in 1916. Her film debut was in A House Divided (1931). She repeated her stage role in Dead End (1937) as Baby Face Martin (Humphrey Bogart)'s mother, which led to a number of slum mother parts. She played very strong role of Lucy, the dude ranch operator in The Women (1939). She achieved popularity as a comedienne in six 1940s movies made with Wallace Beery e.g., Barnacle Bill (1941). The character which would dominate her remaining career was established when she played Ma Kettle in The Egg and I (1947), for which she received an Academy Award nomination for best supporting actress. She began her co-starring series with Percy Kilbride the following year in Feudin', Fussin' and A-Fightin' (1948) and continued through seven more. Her last movie was a "Kettle" without Kilbride: The Kettles on Old MacDonald's Farm (1957).- Actor
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Fredric March began a career in banking but in 1920 found himself cast as an extra in films being produced in New York. He starred on the Broadway stage first in 1926 and would return there between screen appearances later on. He won plaudits (and an Academy Award nomination) for his send-up of John Barrymore in The Royal Family of Broadway (1930). Four more Academy Award nominations would come his way, and he would win the Oscar for Best Actor twice: for Dr. Jekyll and Mr. Hyde (1931) and The Best Years of Our Lives (1946). He could play roles varying from heavy drama to light comedy, and was often best portraying men in anguish, such as Willy Loman in Death of a Salesman (1951). As his career advanced he progressed from leading man to character actor.- Actor
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John Irwin McGiver came to acting relatively late in life. He held B.A. and Master's degrees in English from Fordham, Columbia and Catholic Universities and spent his early years teaching drama and speech at Christopher Columbus High School in the Bronx. He had an early flirtation with the acting profession in 1938 as actor/director for the Irish Reperatory Theatre, but found his weekly income of $26.42 insufficient for daily survival. The next year he enlisted and saw action during World War II, fighting with the U.S. 7th Armored Division in Europe (including the Battle of the Bulge). When he was demobbed after six years in the army, he held the rank of Captain. He returned to teaching drama, with occasional forays into off-Broadway acting. In 1947, he married Chicago scenic designer Ruth Shmigelsky and settled down to live in a converted 19th-century former Baptist church.
There are conflicting stories as to how McGiver ended up becoming a film and television actor, but it happened sometime after one of his part-time acting performances in September 1955, either through the offices of an old University classmate turned stage producer or through the persuasive abilities of an agent from the Music Corporation of America. In any case, the portly, balding, owl-like and precisely spoken McGiver quickly developed an inimitable style as a comic (and occasionally serious) actor on television and in films. He was most memorable as the obtuse landscape contractor in The Gazebo (1959), a pompous jewelry salesman in Breakfast at Tiffany's (1961) and an inept twitcher in Mr. Hobbs Takes a Vacation (1962). He also played Mr. Sowerberry in a television version of Oliver Twist (1959) and starred in his own (sadly short-lived) TV show, Many Happy Returns (1964), as the complaints manager of a department store. His dramatic roles included a senator in The Manchurian Candidate (1962) and, on television, the corrupt mayor in The Front Page (1970), plus a rare villainous role in the TV episode The Birds and the Bees Affair (1966). Among his numerous guest starring roles on television, he was at his best as the self-absorbed Roswell Flemington, who learns a moral lesson in Sounds and Silences (1964) (1964).- Torben Meyer was born on 1 December 1884 in Århus, Denmark. He was an actor, known for Judgment at Nuremberg (1961), Sullivan's Travels (1941) and The Last Warning (1928). He died on 22 May 1975 in Hollywood, California, USA.
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This preeminent sitcom dad of the 50s had already started things off studying law when he decided to put together a dance band in the 20s on the sly. The band was so successful that he never looked back -- his love for entertaining completely took over. The New Jersey-born performer made a living for a time playing hotels and casinos on the East coast, capitalizing on an easy-going singing style. In 1932 Harriet Nelson came aboard as lead vocalist of his band and their easy rapport together provided some marvelous spontaneous comedy relief that clicked with audiences. They married in 1935 and soon extended their popularity to radio (with Red Skelton, among others) and a few WWII musical films such as Sweetheart of the Campus (1941), Strictly in the Groove (1942), Honeymoon Lodge (1943) and Take It Big (1944). Determined to maintain a strong family unit as their family grew, they integrated their two careers into one and seldom worked apart after this.
They were a huge hit together with the family radio program "The Adventures of Ozzie and Harriet" in 1944 with two young actors playing their sons. When the show transferred to TV in 1952, their real-life sons, David Nelson and Ricky Nelson, were incorporated. This landmark show lasted 14 years, a record unbroken for what is considered America's first "reality" TV sitcom. Although Ozzie's dad character came off stammering, hesitant and slightly absent-minded, which meshed perfectly with Harriet's smart, wisecracking appeal, he was anything but offstage. A dynamo and workaholic as well as shrewd businessman, he supervised his show completely as producer, director, and editor. He virtually put son Ricky on the map as a pop singing idol via his sitcom, incorporating the boy's musical talents into various plots.
Ozzie's interests invariably spread to other aspects of show business as well. He and Harriet occasionally toured together on the theater stage in such light-hearted vehicles as "The Marriage-Go-Round." Later on he took on the role of producer and director for some of TV's more popular shows. Older son David followed in his father's footsteps as a producer and director. In the early 70s Ozzie and Harriet attempted another TV series entitled Ozzie's Girls (1973), which was syndicated to local stations, but the show had an outdated feel to it and lasted a mere season. One of his very few failures. Ozzie died in Laguna Beach, California of liver cancer in 1975 at age 69.- Actor
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When amiable Columbia Pictures actor Larry Parks was entrusted the role of entertainer Al Jolson in the biopic The Jolson Story (1946), his career finally hit the big time. Within a few years, however, his bright new world crumbled courtesy of the House Un-American Activities Committee after the actor admitted under pressure that he was once affiliated with the Communist Party. Although he unwillingly testified in 1951, he was still (unofficially) blacklisted. Never-say-die Larry managed to continue his career in years to come - both here and abroad, on stage and in nightclubs - alongside steadfast wife Betty Garrett. His film career, however, literally came to a standstill and would never be the same again.
Samuel Klausman Lawrence Parks was born in Olathe, Kansas, on December 13, 1914, of German and Irish descent. As a child growing up in Joliet, Illinois, he was plagued by a variety of illnesses, including rheumatic fever, but persevered with physical exercise and sheer strength of will. Majoring in science at the University of Illinois, his plans to become a doctor dissolved when, to the dismay of his parents, he found a passionate sideline in college dramatics.
He began appearing in touring shows, then made the big move to New York, finding initial employment as an usher at Carnegie Hall and a tour guide at Radio City. Following a number of summer stock shows, he made an inauspicious 1937 Broadway debut with a minor role in the Group Theatre's presentation of "Golden Boy". Developing a close-knit relationship with the Group, he was just beginning to build up his resumé in such Broadway outings as "All the Living", "My Heart's in the Highlands" and "Pure in Heart" when he had to return to his Illinois home following the death of his father.
He toiled for a time in Chicago as a Pullman inspector on the New York Central Railroad until the possibility of a film role had him re-setting his acting sights on Los Angeles. Although the film deal fell through, Larry stayed in L.A. and somehow made ends meet working construction. Columbia expressed interest in the fledgling actor and signed him up in 1941 after a favorable screen test. He stayed for nine years. His buildup was slow-moving, taking his first small step with a minor role in Mystery Ship (1941). Time, however, did not increase the tempo or quality of his movies. Either he was oddly cast, such as his role as an Indian opposite exotic Yvonne De Carlo in The Deerslayer (1943), or completely dismissed, as co-star of such obscurities as The Black Parachute (1944), Sergeant Mike (1944) or She's a Sweetheart (1944).
His association with the Group Theatre back in New York led to a chance introduction to musical actress Betty Garrett and the couple married in 1944. Larry had settled by this time in Hollywood but Betty was a hot item on Broadway. MGM finally offered her a contract and she relocated to Los Angeles to join her husband. The couple eventually had two children, one of whom, Andrew Parks, became a fine actor in his own right. Their other son, Garrett Parks, served as composer for the film Diamond Men (2000).
Larry scored an Oscar nomination playing Jolson (which was originally offered to both James Cagney and Danny Thomas), and hoped for equally challenging roles. His hopes were dashed as the studio instead continued casting him haphazardly in mild-mannered comedies and swashbuckling adventures. Other than the box-office sequel Jolson Sings Again (1949), most of Larry's films were hardly worthy of his obvious talent. To compensate somewhat, he managed to find a creative outlet in summer stock, and both he and Betty put together a successful vaudeville act with one tour ending up playing London's Palladium.
Following the completion of Love Is Better Than Ever (1952) with Elizabeth Taylor, the political scandal erupted and erased all of his chances to do film. One of many casualties of Hollywood "blacklisting", he was forced to end his association with Columbia, and he and Betty, whose own career was damaged, traveled to Europe to find work.
He found some TV parts after the controversy died down, and Betty and Larry were a delightful replacement for Judy Holliday and Sydney Chaplin on Broadway in "Bells Are Ringing". During the many meager times, he concentrated on becoming a successful businessman, including building apartment complexes. He made only two more films, last playing a doctor in the Montgomery Clift starrer Freud (1962). By the time he died of a heart attack on April 13, 1975, at age 60, Larry had long faded from view. Betty, however, managed to revitalize her career on TV sitcoms with regular roles on All in the Family (1971), Laverne & Shirley (1976), and roles on numerous other TV series before passing on February 12, 2011.- Hank Patterson was born in Springville, Alabama to Green and Mary Newton Patterson. Hank's great-grandfather, James Pearson, was an original settler of St. Clair County, AL as was his mother's great-grandfather, Thomas Newton. Between 1894 & 1897, the family left AL to live in Taylor, Texas, where Hank attempted to work as a serious musician, only to settle for playing piano in traveling vaudeville shows. He worked his way out to California in the 1920s and here began his film career followed by long runs on two television series Gunsmoke (1955) and Green Acres (1965).
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Brunette, convent-educated Mary Philips was an accomplished actress on the New York stage by the time she met the actor Humphrey Bogart in 1924 and became his 'speakeasy touring companion'. While both encouraged each other's prodigious affinity for alcohol, Mary proved beneficial in getting Bogie to approach his craft more seriously. Bogart considered her to be an 'inspirational influence' and the couple duly married at the home of Mary's mother in Hartford, Connecticut, in April 1928. They were briefly co-starred in a play, "Skyrocket" (which received a mixed critical reception), but soon both actors went their own way: Bogie concentrating on his film career, while Mary decided to honour her theatrical obligations on the East Coast, performing in her latest play "The Tavern". About a subsequent performance in "A Touch of Brimstone" (1935), the influential New York Times reviewer Brooks Atkinson remarked on her 'spirit and intelligence irradiating every scene'.
In keeping with the notion of a 'modern marriage', an agreement was reached which permitted both partners to have relationships on the side while separated. Mary was determined not to abandon her theatrical career for Hollywood, her publicity even failing to intimate that she was married. After another hit play in "The Postman Always Rings Twice" (1936), it transpired that Mary had become rather more successful than her husband. The couple drifted apart and the marriage came to an end after ten years, though both ended up parting on friendly terms. Mary's next husband was the actor Kenneth MacKenna, a former friend of Bogie from his days as a struggling actor in New York.
Though an unquestioned star of the stage, Mary's screen career was desultory by comparison. Among only a handful of supporting roles, her best performance (and her personal favorite) was as the stern nurse Helen Ferguson, friend of Helen Hayes in A Farewell to Arms (1932). There was little else of note and by the early 1940's, good theatrical parts also began to dry up. Bogart's career had now well eclipsed that of Mary Philips.- Actress
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Thanks for the memory, Shirley! Little recalled today, with the exception of die-hard "Golden Age" musical fans, the ever vivacious and talented Shirley Ross had the makings of a major singing film star, but her career remained on the second tier which included 25 pictures within a decade's time. The oval-faced blonde is probably best remembered via her movie pairing with entertainment legend Bob Hope.
She was born Bernice Maude Gaunt on January 7, 1913 (some sources list 1909), in Omaha Nebraska, the elder daughter of two born to Charles Burr and Maude C. Ellis Gaunt. Studying piano in her youth, her family eventually moved West where she attended Hollywood High School. During that time she appeared on radio and gave teen vocal recitals. Following high school graduation, she studied classical piano at UCLA.
Shirley found early work singing and recording with Gus Arnheim's band and appeared in a number of the swankier clubs of the day, including the Beverly Wilshire Hotel. Of her early recordings with the band, one was the single "I'm No Angel," which would later become a signature song for none other than Mae West. Other recordings would include the tune "If You Leave Me Now."
Having made a decent enough name for herself recording and warbling on radio shows, Shirley sparked the interest of up-and-coming songwriting team Richard Rodgers and Lorenz Hart, who chose her to help them sell their songs to MGM. This led to a MGM screen test and film contract in 1933. She made her unbilled debut in the Jean Harlow starrer Bombshell (1933) and appeared briefly in the musical film Manhattan Melodrama (1934) as a specialty singer offering the Rodgers and Hart song "The Bad in Every Man" which was later retitled "Blue Moon" with revised lyrics.
Paying her dues as a starlet with a number of musical shorts and unbilled appearances in such feature films as The Merry Widow (1934) and The Girl from Missouri (1934), Shirley began to move further up the credits with Calm Yourself (1935), Devil's Squadron (1936) and in the popular San Francisco (1936) wherein she sang "Happy New Year." She also starred as Reno Sweeney in a 1935 local stage production of "Anything Goes."
Shirley's big break came with her playing sweet, young ingénue Gwen Holmes who comes to New York seeking radio stardom in The Big Broadcast of 1937 (1936). She displayed a natural talent for comedy as well as a lovely voice ("You Came to My Rescue," "I'm Talking Through My Heart") opposite handsome Ray Milland in this studio loan-out to Paramount.
Paramount took to Shirley and continued their burgeoning love affair offering her leads opposite Robert Cummings in the romantic comedy Hideaway Girl (1936) and John Trent in the musical comedy Blossoms on Broadway (1937) in which she sings the title song. Now signed to a five-year contract, she spent the next few years paired up vocally and romantically with either Bing Crosby or Bob Hope. She co-starred with Crosby in Waikiki Wedding (1937) ("In a Little Hula Heaven") and in Paris Honeymoon (1939) ("I Have Eyes to See With").
With Hope she co-starred in The Big Broadcast of 1938 (1938) and soloed on the tune "The Waltz Lives On," but more famously duetted with Hope on the chic and bittersweet Academy Award-winning song "Thanks for the Memory," which would become Hope's iconic signature tune. This collaboration proved quite memorable and the two went on to co-star in the musical Thanks for the Memory (1938) in which they again duetted on the now-famous title tune as well as the song "Two Sleepy People." Bob and Shirley paired up one more time for Some Like It Hot (1939) in which she sang the title song and duetted with Hope on "The Lady's in Love with You").
A pleasing but rather understated performer who never quite caught on, Shirley continued with a second lead in the Paramount comedy Cafe Society (1939) starring Madeleine Carroll and Fred MacMurray, and then appeared in films for other studios. She -- the Universal Baby Sandy comedy vehicle Unexpected Father (1939) opposite Dennis O'Keefe; a second lead in the Warner Bros. comedy Kisses for Breakfast (1941) and in the minor Republic musical Sailors on Leave (1941), she was paired with William Lundigan.
Preferring live audiences, Shirley stopped filming and focused on radio work, appearing frequently on "Command Performance," "Personal Album" and "The Bob Burns Show," as well as Hope's popular radio show. She also played the lead in Rodgers and Hart's musical "Higher and Higher" in 1940. In her only Broadway performance, she introduced the songs "It Never Entered My Mind" and "Nothing But You."
Shirley returned to the big screen only one more time, towards the end of the war, with the "B" Republic musical A Song for Miss Julie (1945) co-starring the little known Barton Hepburn. After leaving pictures, she was little heard or seen and settled into domestic life. Married to agent Ken Dolan, she had two sons and a daughter.
Shirley died in Menlo Park, California of cancer on March 9, 1975, aged 62. By having had a bit of "Hope" in her life, a fine flicker of "Thanks for the Memory" will always be in deference to wonderful singer Shirley Ross.- Actress
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Sheila Ryan was born on 8 June 1921 in Topeka, Kansas, USA. She was an actress, known for Deadline for Murder (1946), The Lone Wolf in Mexico (1947) and Song of Texas (1943). She was married to Pat Buttram, Edward Norris and Allan Lane. She died on 4 November 1975 in Woodland Hills, Los Angeles, California, USA.- Writer
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A former boxer, paratrooper and general all-around angry young man, Rod Serling was one of the radical new voices that made the "Golden Age" of television. Long before The Twilight Zone (1959), he was known for writing such high-quality scripts as "Patterns" and "Requiem for a Heavyweight," both later turned into films (Patterns (1956) and Requiem for a Heavyweight (1962)). The Twilight Zone (1959) featured forays into controversial grounds like racism, Cold War paranoia and the horrors of war. His maverick attitude eventually drove him from regular network television.